Journal articles on the topic 'Browser forum'

The sophistication of information and communication technology (ICT) especially in the field of internet is very supportive and easier to find information by using a web browser as a medium, one of the utilization of information and communication technology (ICT) is an online discussion forum as access to discuss various things. Discussion forums active role as a communication medium that exists with the purpose of giving opinions, motivation, solutions, and information related to the ongoing discussion in the forum. Along with the development of non-formal learning methods, discussion forums are now made by several campuses in Indonesia, which aims to provide solutions to the students to be more active in asking and able to provide accurate answers or opinions thus indirectly the discussion forum turned into a place of learning non- formal distance can be done without face to face (ilearning learning methods). The problem is access to the previous discussion forum where discussions are time limitations in the delivery time, require each member to take the time to meet face to face and also requires that each member be in one (1) point for the purpose of exchanging information. Online discussion forums is an efficient solution is flexible and does not remember much each member has the same time, by making use of information and communication technology (ICT) is one of the colleges make online discussion forums as a forum of discussion among students, faculty and staff at the college incorporated as members so that the members can ask questions and provide solutions, and argue about related questions to give you an idea - an idea that is easy to understand that is packaged specifically for non-learning activities fomal online and without a time bound access. RhjFox is a communication medium in the form of active online discussion forum developed by the university, with a discussion of the division of the categories created to facilitate the members to interact and search for information on the desired topic of discussion in the discussion forum. RhjFox is a contribution to improving the quality of interaction and discussion without the limitations of time and face to face which involves students, faculty and staff members who had previously performed only discussion forum at the time and the same place

Seruyan student association is one of student organization in Palangka Raya. It isfound that information of Seruyan students lacks enough data. It becomes a problem for theofficer since the officer has to come every campus, boarding house or house to complete thedata manually. It consumes too much time to collect and process the data. This designedwebsite is hoped can help the officer collecting, managing, and informing those students’data easily. It is hoped that this website which is developed using SMS Broadcast can be veryhelpful in speed and quality for presenting the information. This kind of website also offer astructured storage. Besides, available information then can be accessed in an unlimitednumber of times and places.This research is conducted using PHP language programme and MySQL database. Theresearcher also uses a methodology of software development which known as waterfallmethodology (Analysis, Design, Code, Testing and Maintenance). Besides, ContentManagement System (CMS) is also used to manage content of the website includes commandto add, change, and delete data which can be accessed from the administrator system page.This website is tested using whitebox technique which also includes a test for visitor,member, administrator, and browser. In the other opportunity in the future, it is hoped thatthis website can be developed bu adding some other features such as discussion forum orchat room.

Currently, local area network (LAN) is commonplace in the Nigerian tertiary institutions and can be a good platform for distributing and disseminating instructional materials. Thus, this paper proposes to improve the quality of academics through online provision of learning resources based on Free and Open Source Software (FOSS); wired and wireless access to contents; and availability of the system 24/7. The system is based on third party software or FOSS called phpBB and Windows 2003 Server Active Directory Services. Both are installed and configured on an intranet. It has a discussion forum which is accessed through Hypertext Transfer Protocol using a web browser; and directory services for files/folders upload and download based on a set of privilege levels in Discretionary Access Control List (DACL) as a way of improving security. The system leads to the development of a virtual campus in Covenant University. Also, it has helpedimprove the quality of teaching by making lecture notes availably on the intranet, lecturer/studentinteraction, accessibility to teaching materials and reduce student’s idle time. The system helps in no small measure to correct the problems plaguing the educational sector such as examination malpractice, decline standards of education and cultism, as students are gainfully engaged in academic and social activities. The creation of a virtual campus would enhance the level of e-participation, and e-readiness of the graduate for the employment market. In particular, it bridges the divide between the developed and the developing nations.

This study investigated the use of (im)politeness and disagreement in online discussion forums among English speakers and English as a foreign language (EFL) learners. It also explored how internet forum browsers judge (im)politeness and parameters of relational work ((in)appropriateness and negatively/positively marked behaviour) in disagreement. Three hundred and sixty disagreement responses were analysed following a list of disagreement strategies. The most frequent strategy applied by English speakers was 'making scornful and humiliating statements', while EFL learners used 'showing unmitigated disagreement' and 'showing smileys' as the highest and lowest ones. Most of the strategies used by English speakers were judged as polite and appropriate, but neither negatively nor positively marked, while 13 types of EFL strategies were considered as polite, but neither appropriate and positively marked nor inappropriate and negatively marked. Further, the three parameters had positive relationships with one another. This study provides worthwhile information for improving teaching communication skills in EFL courses. Keywords: (Im)Politeness, disagreement, English as a foreign language learners, interactional and discursive approach, online forum

ABSTRACTHealth care is taking its turn in the internet now and online health information consumption is also booming. Users have started generating healthcarereports like online doctor reviews open to all. Hence, online health forums are increasingly popular these days since people can gather their requireddata by just sitting at home and select the best doctor by considering the reviews available online. The patients also browse on their concerneddiseases and use the open forum for discussion on the topics. On an average, these online health-care providers are mainly focusing on reviews aboutthe physicians. The feedback provided by patients is considered and we also analyze the sentiments of the patient to estimate the value of the reviews.The rating for the doctors is divided into various categories such as Staff, Knowledge, and Helpfulness. We propose support vector machine and apriorifor the classification of data and use sentiment based rating prediction to analyze doctor’s reviews and opinion mining patterns for online patterns.By providing physician ratings in website, it offers the patients to know about the physician and consider the critique and information to make theirdecision.Keywords: Support vector machine, Apriori, Sentiment classification, Opinion mining.

The scientific article is devoted to the coverage of the administrative procedure for providing electronic services by the State Architectural and Construction Inspectorate of Ukraine. Different approaches to the concept of administrative procedure in terms of e-services provision are discussed. The stages of the procedure of providing electronic service in the form of submission of a declaration (notification) by individuals are characterized. It is established that before commencing the process of submission of the declaration (message), the service consumer must have a personal key and a valid enhanced certificate, which will be used during the submission process to affix an electronic digital signature to the form with the declaration (message). You can obtain enhanced key certificates at an accredited key certification center. Thus, at the moment the service supports certificates issued by the certification center of the information and reference department of the Ministry of Revenue and Collections of Ukraine. Install a Java computing software package on your computer and enable JavaScript scripts to run in your browser. Please note that detailed Java installation instructions are available at http://java.com/download/installed.jsp. You can download Java directly for Windows from http://www.java.com/download/windows_xpi.jsp. How to enable JavaScript scripts in your browser (http://www.enable-javascript.com/en/). It is concluded that the procedure of providing the service in electronic form, for example, the submission of a declaration (notification) by the state architectural and construction inspection of Ukraine is regulated in detail on the official website and still needs to improve the quality of the provision of these services in the form of simplification and accessibility for all consumers services.

Background Opioid use disorder presents a public health issue afflicting millions across the globe. There is a pressing need to understand the opioid supply chain to gain new insights into the mitigation of opioid use and effectively combat the opioid crisis. The role of anonymous online marketplaces and forums that resemble eBay or Amazon, where anyone can post, browse, and purchase opioid commodities, has become increasingly important in opioid trading. Therefore, a greater understanding of anonymous markets and forums may enable public health officials and other stakeholders to comprehend the scope of the crisis. However, to the best of our knowledge, no large-scale study, which may cross multiple anonymous marketplaces and is cross-sectional, has been conducted to profile the opioid supply chain and unveil characteristics of opioid suppliers, commodities, and transactions. Objective We aimed to profile the opioid supply chain in anonymous markets and forums via a large-scale, longitudinal measurement study on anonymous market listings and posts. Toward this, we propose a series of techniques to collect data; identify opioid jargon terms used in the anonymous marketplaces and forums; and profile the opioid commodities, suppliers, and transactions. Methods We first conducted a whole-site crawl of anonymous online marketplaces and forums to solicit data. We then developed a suite of opioid domain–specific text mining techniques (eg, opioid jargon detection and opioid trading information retrieval) to recognize information relevant to opioid trading activities (eg, commodities, price, shipping information, and suppliers). Subsequently, we conducted a comprehensive, large-scale, longitudinal study to demystify opioid trading activities in anonymous markets and forums. Results A total of 248,359 listings from 10 anonymous online marketplaces and 1,138,961 traces (ie, threads of posts) from 6 underground forums were collected. Among them, we identified 28,106 opioid product listings and 13,508 opioid-related promotional and review forum traces from 5147 unique opioid suppliers’ IDs and 2778 unique opioid buyers’ IDs. Our study characterized opioid suppliers (eg, activeness and cross-market activities), commodities (eg, popular items and their evolution), and transactions (eg, origins and shipping destination) in anonymous marketplaces and forums, which enabled a greater understanding of the underground trading activities involved in international opioid supply and demand. Conclusions The results provide insight into opioid trading in the anonymous markets and forums and may prove an effective mitigation data point for illuminating the opioid supply chain.

Com base na crítica literária feminista e na História das mulheres, este texto tem um objetivo interdisciplinar de perceber a situação da mulher portuguesa do século XIX, por meio da forma como Francisca Paula Possolo da Costa e Maria da Felicidade de Couto Browne se relacionam com o masculino em suas poesias. Francília (Francisca Possolo) e Sóror Dolores (Maria Browne) foram duas poetisas portuguesas que trataram da ‘traição’ masculina em seus poemas. Ambas foram traídas por homens que amavam e demonstram que isto desencadeou uma mudança na forma como escrevem sua poesia e viviam suas vidas.Neste trabalho pretende-se analisar a obra destas duas autoras portuguesas, uma de Lisboa e outra do Porto, com o propósito de compreender suas opiniões relacionadas a masculinidade e a imagem criada por elas dos homens seus contemporâneos.

A nossa abordagem centra-se na problemática do pacifismo e educação, em Portugal, no século XXI. Consideramos o ciberespaço como arena para a sua constituição como problema social. Após pesquisas exploratórias identificámos as expressões “pacifismo e educação”, “educação e pacifismo” e “educação para a paz” como ponto de partida para a constituição de um acervo documental. A pesquisa realizou-se na web 2.0, mobilizando como browser, o Chrome, e com recurso a um motor de busca, o Google. Como restrições estabeleceram-se a localização (Portugal) e a língua (português). As fontes foram sujeitas a análise documental com recurso ao método crítico. O estudo permitiu-nos: caracterizar a diversidade de fontes em presença e as audiências a que se destinam; identificar organizações e atores, argumentos, diferentes posicionamentos e objetivos; elaborar uma leitura compreensiva da educação para a paz, em Portugal, como problema socioeducativo.

We apply proof-theoretic techniques of "proof mining" to obtain an effective uniform rate of metastability in the sense of Tao for Baillon's famous nonlinear ergodic theorem in Hilbert space. In fact, we analyze a proof due to Brézis and Browder of Baillon's theorem relative to the use of weak sequential compactness. Using previous results due to the author we show the existence of a bar recursive functional Ω* (using only lowest type bar recursion B0, 1) providing a uniform quantitative version of weak compactness. Primitive recursively in this functional (and hence in T0 + B0, 1) we then construct an explicit bound φ on for the metastable version of Baillon's theorem. From the type level of φ and another result of the author it follows that φ is primitive recursive in the extended sense of Gödel's T. In a subsequent paper also Ω* will be explicitly constructed leading to the refined complexity estimate φ ∈ T4.

Background Crohn's disease and colitis are chronic conditions that affect every facet of patients' lives (e.g., social interaction, family, work, diet, and sleep). Thus, treatment consists largely of disease management. The University of North Carolina at Chapel Hill chapter of the Crohn's and Colitis Foundation—IBD Partners—has created an interactive website that, in addition to providing helpful information and disease management tools, provides a discussion forum for patients to talk about their experiences and suggest new lines of research into Crohn's disease and colitis. Objectives The primary objective of this work is to enable researchers to more effectively browse the forum content. Researchers wish to identify important/popular patient-suggested research topics, appreciate the full breadth of the research topics, and see connections between them, in order to more effectively prioritize research agendas. Methods To help structure the forum content we have developed an ontology describing the major themes in the discussion forum. We have also created a prototype interactive visualization tool that leverages the ontology to help researchers identify common themes and related patient-generated research topics via linked views of (1) the ontology, (2) a research topic overview clustered by relevant ontology terms, and (3) a detailed view of the discussion forum content. Results We discuss visualizations and interactions enabled by the visualization tool, provide an example scenario using the tool, and discuss limitations and future work based on feedback from potential users. Conclusion The integration of a user-community specific ontology with an interactive visualization tool is a promising approach for enabling researchers to more effectively study user-generated research questions.

A disponibilidade de geotecnologias tem estimulado a produção e o consumo de informações espaciais, aumentando a necessidade de validações para garantir a qualidade cartográfica. Este artigo tem como objetivo avaliar a aplicação de imagens do satélite Sentinel-2, que podem ser obtidas sem custos e em forma de mosaico temporal pela plataforma Google Earth Engine (GEE), para atualização da Base Cartográfica Contínua na escala de 1:100.000 (BC100) do Instituto Brasileiro de Geografia e Estatística (IBGE). Foi avaliada a acurácia posicional planimétrica, tomando como referência um ortomosaico do IBGE, com resolução espacial de 1 m, utilizou-se o método de feições lineares Buffer Duplo. Foram analisadas as vias da Universidade Federal Rural do Rio de Janeiro (UFRRJ), campus Seropédica, as quais foram vetorizadas na imagem de referência e no mosaico em teste. Em seguida foram avaliadas as discrepâncias obtidas, considerando o Padrão de Exatidão Cartográfica para Produtos Cartográficos Digitais (PEC-PCD) e o Erro Padrão (EP), para escala 1:100.000, obteve-se como resultado classe A. A aprovação do mosaico temporal formado por pixels de dias diferentes, disponibilizado pelo GEE, motivou a validação dos arquivos brutos e do mosaico obtido pela plataforma Sentinel Hub (EO Browser), ambos formados por pixels do mesmo dia. Aplicou-se a Análise de Variância (ANOVA) para comparar as discrepâncias entre as imagens e concluiu-se que estatisticamente não há diferenças. Mostrando que para a área de estudo, analisando as vias, as imagens brutas do Sentinel-2, o mosaico temporal GEE e mosaico Sentinel Hub são aplicáveis para a atualização da BC100.

Este trabalho consiste no levantamento dos representantes de Rubiaceae subfamília Rubioideae na Reserva Biológica Guaribas, Estado da Paraíba, Brasil. Foram realizadas coletas intensivas no período de outubro/2000 a outubro/2001, as quais resultaram em 17 espécies e nove gêneros de Rubioideae. Os gêneros com maior número de espécies foram Psychotria L. (seis) e BorreriaG. Mey. (quatro). Coccocypselum P. Browne, Declieuxia Kunth, Diodia L., Mitracarpus Zucc. ex Roem. & Schult., PalicoureaAubl., RichardiaL. e Staelia Cham. & Schltdl. apresentaram uma única espécie cada. Perama hirsuta Aubl., de posição taxonômica incerta na família, também foi tratada neste trabalho. São apresentados chave, descrições, comentários e ilustrações dos táxons.

Many studies have shown that women’s experiences, feelings and opinions during their infertility treatment play an important role in treatment outcomes. This qualitative study aimed to reveal the experiences, feelings and opinions of Turkish women with infertility. The data were collected from two Internet forums between October 2016 and November 2016, and the writings of 26 women were explored. The key words “woman with infertility,” “feelings, opinion, experience and blogs” and “infertility and blogs” were browsed. The obtained data were analyzed using the method of content analysis. Those expressing feelings, opinions and experiences were underlined and codes, subthemes and themes were created by three researchers separately. Then they came together, discussed the codes and agreed on the thematic statement. The themes which emerged were psychological changes, changes in social life and changes related to treatment themes. Holistic approach and patient-specific interventions can help turn the abovementioned vicious cycle into positive.

Este trabalho consiste no levantamento dos representantes das subfamílias Antirheoideae, Cinchonoideae e Ixoroideae na Reserva Biológica Guaribas, Paraíba, Brasil. Foram realizadas coletas intensivas no período de outubro/2000 a outubro/2001, as quais resultaram no reconhecimento de 12 espécies, 10 gêneros e cinco tribos, distribuídos nas três subfamílias. A subfamília melhor representada foi Antirheoideae, com cinco espécies, quatro gêneros e duas tribos. Os gêneros com maior número de espécies foram Guettarda L. (2) e Tocoyena Aubl. (2). Alibertia A. Rich. ex DC., Alseis Schott, Chiococca P. Browne, Chomelia Jacq., Coutarea Aubl., Posoqueria Aubl., Sabicea Aubl. e Salzmannia DC. apresentaram uma única espécie cada. São apresentadas chaves para identificação, descrições, comentários sobre morfologia e distribuição das espécies, e ilustrações dos táxons verificados.

Coccocypselum é um gênero herbáceo com cerca de 35 espécies distribuídas exclusivamente nos Neotrópicos, desde o México até a Argentina. Caracteriza-se pelas cimeiras contraídas, flores distílicas, lilases, ovário bilocular, multiovulado e, usualmente, frutos carnosos azuis ou vináceos, às vezes tornando-se secos. Foram reconhecidas oito espécies de Coccocypselum em São Paulo: C. campanuliflorum (Hook.) Cham. & Schltdl., C. condalia Pers., C. cordifolium Nees & Mart., C. erythrocephalum Cham. & Schltdl., C. hasslerianum Chodat, C. krauseanum Standl., C. lanceolatum (Ruiz & Pav.) Pers. e C. lymansmithii Standl. A maioria das espécies ocorre na floresta ombrófila densa do litoral do Estado, à exceção de C. lymansmithii, encontrada apenas nos campos montanos da Serra da Mantiqueira, e de C. lanceolatum, que se estende até o interior do Estado. São apresentados comentários sobre morfologia e taxonomia, ilustrações, e dados sobre distribuição geográfica e fenologia, alem de uma chave para as espécies estudadas.

Foram registradas 14 espécies de Cladonia, das quais quatro são novas ocorrências: Cladonia latiloba e C. ochracea para o Paraná; C. merochlorophaea e C. polyscypha para Santa Catarina. A maioria das espécies foi encontrada tanto em restingas quanto em costões rochosos. Cladonia flagellaris e C. litoralis foram encontradas apenas em costões enquanto que C. merochlorophaea, C. polyscypha, C. signata e C. solida apenas em restingas. São apresentadas chave de identificação, descrições, comentários e ilustrações.

This study aims to describe the baseline of instructional strategies currently deployed by teachers in the form of goal setting, media selection, application of methods, and evaluation of learning in relation to Islamic values ​​in science teaching. This research was designed in the form of a qualitative description by involving 18 Islamic schools spread over three regions in Indonesia, namely Malang, Lamongan, and Yogyakarta. Methods of data collection used observation forms, ethnographic video during the learning process, interviews with education stakeholders, Forum Group Discussion (FGD) with students, and documentation study for 6 months. Although Islamic schools in the selected study areas in Java, Indonesia have embraced the integration of Islam into science teaching, as mentioned in the Core Competencies [KI] in the National Curriculum 2013), however, the implementation of it is still not optimal. In addition, the integration of Islam in science teaching is mostly done by teachers through lecture methods. While most teachers expressed interest in the integration of Islam and science, many teachers expressed anxiety about their competence in addressing complex theological issues. The majority of science teachers in Islamic schools have similar strategies in developing ways to integrate the science curriculum. One key strategy is to browse online and find verses from the Qur'an that seem relevant to the lesson.

Com o objetivo de apontar caracteres úteis na delimitação taxonômica, foram estudadas as folhas das espécies de Erythroxylum do Cerrado do Estado de São Paulo(E. ambiguum, E. campestre, E. cuneifolium, E. deciduum, E. microphyllum, E. nanum, E. pelleterianum, E. suberosum e E. tortuosum). Todas as folhas são revestidas por cristais de cera epicuticular, que apresentam forma de grânulo ou plaquetas e se distribuem de maneira esparsa ou densa. Para todos os representantes, o padrão de nervação é camptódromo - broquidódromo, o mesofilo é dorsiventral e os estômatos restringem-se à superfície abaxial. Algumas características como bordo acuminado, região da nervura central com projeção adaxial, feixes vasculares laterais envolvidos por bainha parenquimática e tecido vascular em forma de arco aberto, nos pecíolos, são de ampla distribuição nas espécies estudadas. Outras características como bordo arredondado, nervura central com um único feixe vascular, epiderme papilosa na face abaxial e ocasionalmente biestratificada, na adaxial, além de esclereídes dispersas no mesofilo, restringem-se a determinados táxons. A presença ou ausência dos diferentes caracteres foliares permitiu elaborar uma chave de identificação para os Erythroxylum aqui estudados.

In the todays Communication world, mobile and its applications are the most emerging trends. Mobile applications are the exact replacements of web based applications. Based on this statistics we are planning to migrate web based application of college library to mobile application. In most of the college website we see applications like latest news, Attendance, Login and Registrations, EBooks, Forums, Results, Chat application, Web Mail, etc.. Based on the same we would to do the same thing in a mobile application. The reason behind the work is that the mobile applications do not need any third party browsers, or they don't need any domain registration. So in order to take the advantages of all this limitations we are planning to develop the mobile applications. Now the main important modules that I want to implement on my mobile application is OPAC (Online Public Access Catalogue) for a library account. Using OPAC mechanism in mobile one can just access the library account of his/her from anywhere using his mobile device, So that they can check the availability of books in the library instead of going to library. They can even check the number of books that are taken in there account and its submission date, fine to be paid in case.

Familiarity with information and communication technology (ICT) is of great importance to the translation students because it allows the students to make use of a wide range of ICT tools. The present study investigated the degree of students’ familiarity with ICT tools employed to support ICT related activities included in the translator’s workstation. To do this, a questionnaire encompassing 24 questions was designed on the basis of translation activities proposed by Fulford and Granell-Zafar (2005), including information search and retrieval, communications, and marketing and work procurement. The results indicated the high familiarity of the M.A. translation students with general-purpose software application, namely online dictionaries and internet search engines, and the lower than the average familiarity of them with specific-purpose software, such as FTP and MUDs. Furthermore, chi-square test (X²) was run to see whether there is a significant relationship between each type of ICT tools and the participants. The results illustrated that the relationships between the M.A. translation students and some ICT applications, including internet search engines, web browsers, online dictionaries and encyclopedia, IRC, and MUDs, were significant; whereas, it was not significant between the other types of ICT software and students. This includes online translation marketplaces, internet forums, email, instant messaging, video chat, discussion mailing lists, talkers, and FTP.

The article deals with various distance learning management system for pedagogical higher education institution. The most prominent distance learning management systems are mostly focused on: Moodle, WebCT, BlackBoard, eFront, Claroline, Metacoon, SharePoint LMS and Virtual University. Having analyzed the best platforms for creating of distance learning system in pedagogical higher education institution, it is stated that Moodle is leading according to the number of users. Moodle platform is a software suite for creating distance learning courses and websites that works with open source IMS and SCORM. As a result of the analysis and comparisons of the abovementioned platforms, based on pedagogical, didactic, organizational, technical, financial distance learning features, the distance learning management system in State Higher Educational Institution «Pereiaslav-Khmelnytskyi Hryhorii Skovoroda State Pedagogical University» on the basis of Moodle platform is developed. The platform works in different web browsers. There are no special requirements for hardware and operating system. Moodle platform can be installed on any server with any operating system using arbitrary databases. The platform is free for users. Moodle distance learning management system consists of 35 modules: Chat module, Task module, Forum module, Log module, Test module, Resource module, Research module, Seminar module and so on. Moodle distance learning management system enables distance learning in higher education at an affordable innovation level, creates a calendar of learning process events, creates formal algorithms for the teacher's activity in the educational process, thereby achieving a high level of interactivity and achievement of the required level of quality, skills.

Pouco se conhece das espécies de Cladonia que ocorrem nos estados do Paraná e de Santa Catarina. Informações sobre a ocorrência de liquens em restingas são muito escassas e não há qualquer registro para costões rochosos. O objetivo do trabalho foi realizar um levantamento intensivo das espécies de Cladonia presentes em áreas de restingas e costões rochosos presentes nos estados do Paraná e de Santa Catarina, sul do Brasil. Foram encontradas nove espécies pertencentes aos Supergrupos Cocciferae, Crustaceae e Perviae, sendo que Cladonia squamosa é nova citação para o Paraná e C. palmicola para Santa Catarina. Todas as espécies encontradas ocorrem em restingas e sete delas também em costões rochosos. São apresentadas chave de identificação, descrições, comentários e ilustrações.

Abstract Background Repurposing approved products has proven a critical strategy to serve unmet medical needs. Historically, 40% of drugs approved for treatment of tropical diseases were repurposed, including albendazole for echinococcosis and neurocysticercosis, and azithromycin for trachoma. Advantages of repurposing include that approved drugs are well characterized, do not require expensive development programs needed for new drugs, and are frequently active against multiple diseases. Owing to the limited number of drugs approved to treat neglected tropical diseases (NTDs) and emerging or drug-resistant infections, healthcare practitioners use existing drugs in novel ways to treat patients with these conditions. This clinical experience, regardless of whether the outcomes are positive or negative, often is not reported or shared, and the knowledge is therefore lost. Methods FDA and NCATS/NIH have built a pilot program called Collaborative Use Repurposing Engine (CURE) to capture and centralize the global experience of new uses of approved medical products to treat emerging threats, NTDs, and multidrug-resistant organisms. CURE includes a website (https://cure.ncats.io/) and a mobile app (download “PROJECT CURE” at Google Play Store). CURE provides a simple case report form for health care providers to report their experiences, and a collection of cases that have already been reported (including successful and unsuccessful treatments) which they can browse. Healthcare providers who register can also participate in a Treatment Discussion Forum, allowing for engagement with fellow clinicians. CURE could be a global network connecting major treatment centers, academics, private practitioners, government facilities, and other clinicians serving as a means of rapid communication of treatment outcomes between providers treating patients with these conditions. Results See attached screen shots. Conclusion Although this evidence may be insufficient to establish the safety or effectiveness of a new use for an existing product, this clinical experience may provide signals and generate hypotheses for future clinical study. It may allow for rapid identification of promising treatment approaches in urgent situations such as during outbreaks of emerging infectious threats. Disclosures All authors: No reported disclosures.

O objetivo deste trabalho foi avaliar o efeito da omissão de nutrientes nas mudas de Lippia sidoides Cham. (Verbenaceae) e seu possível efeito sobre os seus artrópodes, sendo os tratamentos: 1) testemunha; 2) completo 1 adubado com N, P, K, S, B, Cu, e Zn + calagem (C1); 3) completo 2: C1 sem calagem + Ca e Mg como sulfato (C2); 4) C1 sem calagem; 5) C1 sem N; 6) C1 sem P; 7) C1 sem K; 8) C1 sem S; 9) C1 sem B; 10) C1 sem Cu; 11) C1 sem Zn; 12) C2 sem Ca e 13) C2 sem Mg. O delineamento foi inteiramente casualizado com quatro repetições. O Tetranychus sp. (Acari: Tetranychidae) atacou mais os tratamentos 3, 6, 9 e 13 e os maiores danos nos tratamentos 6 e 13. A maior população de Aphis gossypii Glover (Homoptera: Aphididae) foi encontrada nos tratamentos 5, 6, 7, 8, 11 e 13, colonizando preferencialmente o tratamento 4. O Phenacoccus sp. (Hemiptera: Pseudococcidae) foi encontrado em maior número nos tratamentos 4 e 9 e Insignorthezia insignis (Browne) (Hemiptera: Ortheziidae) em 13. Foram mais notados adultos de Bemisa tabaci (Genn.) (Hemiptera: Aleyrodidae) nos tratamentos 5, 7, 8 e 13 e ninfas nos três últimos tratamentos. Em geral, os tratamentos 1, 5 e 10 são os menos atacados por artrópodes. Dirigir a pulverização, quando necessário, sempre para a face inferior da folha.

The paper studies Internet uses and gratifications by ultra-Orthodox women who are members of closed online fora. The fora constitute a unique environment for ultra-Orthodox women, where they can talk amongst themselves anonymously using modern technology, for purposes that may be illegitimate in their community. It was found that the women perceive the Internet as harmful and dangerous to the ultra-Orthodox lifestyle, but as constructive and empowering personally. The paper also studies what relationships women form online and who they discuss their activities with.

Abstract Motivation Metabolomics studies aim at reporting a metabolic signature (list of metabolites) related to a particular experimental condition. These signatures are instrumental in the identification of biomarkers or classification of individuals, however their biological and physiological interpretation remains a challenge. To support this task, we introduce FORUM: a Knowledge Graph (KG) providing a semantic representation of relations between chemicals and biomedical concepts, built from a federation of life science databases and scientific literature repositories. Results The use of a Semantic Web framework on biological data allows us to apply ontological based reasoning to infer new relations between entities. We show that these new relations provide different levels of abstraction and could open the path to new hypotheses. We estimate the statistical relevance of each extracted relation, explicit or inferred, using an enrichment analysis, and instantiate them as new knowledge in the KG to support results interpretation/further inquiries. Availability A web interface to browse and download the extracted relations, as well as a SPARQL endpoint to directly probe the whole FORUM knowledge graph, are available at https://forum-webapp.semantic-metabolomics.fr. The code needed to reproduce the triplestore is available at https://github.com/eMetaboHUB/Forum-DiseasesChem. Supplementary information Supplementary data are available at Bioinformatics online.

Levantamento das espécies do gênero Trichilia P. BROWNE (Meliaceae) que ocorrem no Estado do Paraná, Brasil. Foram referenciadas 9 espécies: Trichilia lepidota subsp. schumanniana (HARMS) T. D. PENN., T. pallida Sw., T. claussenii C. DC., T. elegans A. JUSS. subsp. elegans, T. casarettii C. DC., T. pallens C. DC., T. pseudostipularis (A. JUSS.) C. DC., T. catigua A. JUSS. e T. silvatica C. DC. Os táxons Trichilia lepidota subsp. schumanniana (HARMS) T. D. PENN. e T. pseudostipularis (A. JUSS.) C. DC. são consideradas espécies raras neste Estado. T. pseudostipularis e T. silvatica são espécies assinaladas pela primeira vez para o Paraná. O levantamento foi realizado com base em coletas botânicas com observações ecológicas e análise morfológica dos espécimes depositados em diversos herbários nacionais. As identificações foram efetuadas com base em bibliografias especializadas e comparação com as descrições originais. Foram elaboradas chaves para a identificação das espécies do Estado do Paraná e as descrições são acompanhadas de ilustrações, mapas de distribuição geográfica, dados de floração e ecológicos, usos e comentários. The genus Trichilia P. Browne (Meliaceae) in the State of Paraná, Brasil Abstract The species of Trichilia P. BROWNE (Meliaceae), found in Paraná state, Brazil, are studied. Nine species were referred: Trichilia lepidota subsp. schumanniana (HARMS) T. D. PENN., T. pallida Sw., T. claussenii C. DC., T. elegans A. JUSS. subsp. elegans, T. casarettii C. DC., T. pallens C. DC., T. pseudostipularis (A. JUSS.) C. DC., T. catigua A. JUSS. and T. silvatica C.DC. Trichilia lepidota subsp. schumanniana (HARMS) T. D. PENN. and T. pseudostipularis (A. JUSS.) C. DC are considered as rare in the area. T. pseudostipularis and T. silvatica are recorded for the first time in Paraná State.The study is based on herbaria samples, field observations and morphological analysis of specimens deposited in several Brazilian herbaria. The identifications were based on specialized bibliographies and comparison with the original descriptions. Identification keys were elaborated for the species of Paraná State and the descriptions are accompanied by illustrations, geographic distribution maps, as well as flowering and uses data.

All uses of HTML forms may benefit from validation of the specified<br />input field values. Simple validation matches individual values against specified formats, while more advanced validation may involve interdependencies of form fields.<br />There is currently no standard for specifying or implementing such validation. Today, CGI programmers often use Perl libraries for simple server-side validation or program customized JavaScript solutions for client-side validation.<br />We present PowerForms, which is an add-on to HTML forms that<br />allows a purely declarative specification of input formats and sophisticated interdependencies of form fields. While our work may be seen as inspiration for a future extension of HTML, it is also available for CGI programmers today through a preprocessor that translates a PowerForms<br />document into a combination of standard HTML and JavaScript that works on all combinations of platforms and browsers.<br />The definitions of PowerForms formats are syntactically disjoint from the form itself, which allows a modular development where the form is perhaps automatically generated by other tools and the formats and interdependencies are added separately.<br />PowerForms has a clean semantics defined through a fixed-point process that resolves the interdependencies between all field values. Text fields are equipped with status icons (by default traffic lights) that continuously reflect the validity of the text that has been entered so far, thus providing immediate feed-back for the user. For other GUI components the available options are dynamically filtered to present only the allowed values. PowerForms are integrated into the <bigwig> system for generating interactive Web services, but is also freely available in an Open Source distribution as a stand-alone package.

A Biomecânica é a área de estudo da Educação Física, Fisioterapia e Medicina, que estuda o movimento humano com base nos princípios da mecânica. A Biomecânica basicamente se utiliza de métodos de análise cinemática e cinética do movimento humano. A análise cinemática estuda a descrição do movimento humano em relação ao tempo e espaço. Diversas técnicas computacionais têm sido utilizadas para análise cinemática do movimento humano, sendo a técnica de cinemetria a mais utilizada para reconstruir o movimento humano em ambiente computacional. A cinemetria utiliza a filmagem de um determinado movimento humano, onde marcadores de referência são fixados no corpo, para reconstruir o mesmo em ambiente virtual para análise em tempo real ou a posteriori. O objetivo principal do projeto édesenvolver um protótipo de sistema de cinemetria 3D de baixo custo. Como objetivos específicos, temos o desenvolvimento de uma interface responsiva, um algoritmo de tracking (rastreamento),um sistema de calibração, que utilizará um calibrador volumétrico de 1m³, um algoritmo de transformação da realidade 2D para a 3D e uma estrutura de hardware amigável, com mobilidade e pouco peso. O projeto teve quatro etapas: 1ª) levantamento de requisitos, onde foram levantados os requisitos funcionais básicos para o desenvolvimento do sistema; 2ª) programação do algoritmo detracking da posição dos marcadores detectados nas imagens das câmeras utilizando o Raspberry Pi 3 como sistema de aquisição; 3ª) programação e construção do sistema de calibração, o algoritmo que reconstruirá o ambiente virtual precisará das informações fornecidas pelo sistema de calibração para ajustar as dimensões do mundo real aos pixels do mundo virtual;4ª) programação do algoritmo que reconstruirá o ambiente virtual 3D a partir da imagem das duas câmeras. Como linguagem de desenvolvimento foi utilizado Python, as bibliotecas OpenCV, Numpy e MatplotLib. O sistema WEB foi desenvolvido em Django, Bootstrap e JavaScript. Como a interface do sistema é WEB, o usuário necessita obrigatoriamente de um computador com um Browser. Nesse contexto o computador com o Browser funciona como o controlador do sistema. O Servidor Django estabelece comunicação via Ethernet ou Wi-Fi com dois Raspberry Pi 3, onde as câmeras de infravermelho estão acopladas. Todos os objetivos iniciais do projeto foram cumpridos, foi desenvolvido o sistema de tracking, o sistema de calibração, o sistema de reconstrução 3D, toda a interface front-end responsiva e a montagem de um hardware amigável, com as câmeras acopladas aos Raspberry em uma caixinha plástica e um calibrador volumétrico móvel. Devido a pandemia do coronavírus e as resoluções 18/2020, 23/2020 e 25/2020 do CONSUPER do IFC, as aulas presenciais foram suspensas desde o dia 16 de Março de 2020, bem como qualquer atividade presencial nos laboratórios do campus Araquari. Diante disso, todo o processo de aquisição de dados para testes do projeto foi comprometido, limitando a apenas testes simples de execução. Com os testes mais simples de funcionamento, o sistema se comportou bem, no entanto, quando tivermos acesso aos laboratórios de pesquisas novamente serão feitos novos testes de funcionamento, desempenho e custo para garantir a viabilidade e a confiabilidade do sistema Raspbody.

Preface<br />The last eight months (May to December of 2011) have been very hectic for the UIC Research and Development Center since there were three research forums that we organized to facilitate the dissemination of 18 studies that appear in this issue (Volume 17 Number 2 October 2011) of our faculty research journal. The bulk of work that Ms. Emma V. Sagarino and I had to finish is hard to describe but we are thankful that despite of such challenge, we still finally get hold of this issue. Of course, the Research Committee and the Panel of Reviewers as well as all the writers are very significant to this effort. Without them, the release of this issue would have not been made possible. A million thanks to all of you!<br /><br />This particular issue is divided into six sections, namely Health, Engineering &amp; Engineering Education, Curriculum &amp; Instruction, Social Sciences, Science &amp; Math Education, and Information Technology<br />Education.<br /><br />Three studies on Health led by Marlon B. Sepe, S. Ma. Remegia M. Cirujales and Emma V. Sagarino report about an innovative technology that can ensure a safe drinking water and alleviate poverty to the people in rural communities, the working conditions of Filipino nurses abroad, and the status of women’s health in selected banana plantations, respectively.<br /><br />The UIC Engineering Faculty has managed to complete three studies delving into the safety practices in engineering field and current instructional strategies directly affecting the engineering curricula. The researchers for Engineering and Engineering Education are Bryant S. Arante, Renan P. Limjuco collaborating with Fr. Francisco G. Glover and Isagani M. Mendez, and Neil C. Capricho with Michael M. Obenque and Fe Monique F. Musni. <br /><br />In the section Curriculum and Instruction, two studies concerning the intensification of instruction, curriculum, and research in UIC were authored by Alvin O. Cayogyog who worked with Reynaldo O. Cuizon, and Emma V. Sagarino with Deogracia B. Corpuz. The first study tackled constructs such as Capability, Culture, and Passion for research and their relationships to each other, while the second investigation analyzed the 5-year performance of the UIC BS in Accountancy graduates in CPA board examinations.<br /><br />Meanwhile, three research articles appear in Social Sciences section. One of them was done by Mona L. Laya and Jason N. Marquez, who described in their work the brand of leadership that is epitomized by Rodrigo<br />R. Duterte. Then, Bienvinido E. Infante and Maribeth Q. Galindo, leading the Social Science Faculty, documented the multi-faceted experiences of foreign students in UIC, and the team of Alvin O. Cayogyog and Ariel E. San Jose investigated the lived philosophies of LGU Officials in reference to their human core faculties.<br /><br />The section for Science and Math Education accommodates the scholarly works of Adorico M. Aya-ay, Orcheliza L. Paramo, and Renan P. Limjuco who shared the findings of their own investigations about the distribution and relative abundance of medium-sized arboreal mammals at Mt. Mahuson, Mount Apo, development and validation of teacher’s laboratory competence evaluation instrument, and creative learning enrichment for mathematics appreciation, respectively, to elevate the quality of science and mathematics education in the university.<br /><br />Three ICT researchers were highlighted in the section Information Technology Education. Shenna Rhea A. Maranguit, et. al., conducted a study entitled Developing a Server-Side Scripting Language Converter for Translating ColdFusion to PHP, while Eric John G. Emberda, et. al., completed their work Developing a Web Proxy Server Application to Minimize Cross-Site Scripting Attacks. Exander T. Barrios, et.al., contributed two different studies. They are entitled A Consolidated Web Browser Interface Using Multiple Browser Libraries for Testing Web Designs and Implementing Symmetric Cryptography on SMS Messaging for Generic Phone Using J2ME Platform. These four studies deal with software development which aims to offer new features to the existing applications available in the Internet. The designs were conceptualized involving several stages and upon consultation with software developers in the region as well as with the intended users of the proposed technologies.<br /><br />

This paper explores the practices that indie developers deploy to manage the risks they encounter while making, marketing and selling games. Building on concepts such as indie labour (Browne 2015) and theory-crafting (Paul 2011), this paper explicates the concept of value crafting as a better way to understand indie game developer practices. Indie developers engage in value crafting as a way to construct the value of their game and to sell it to a wide audience. This is reflected in debates about the pricing of indie games – there is no agreed-upon standard for contemporary indie games, with price points now ranging from free (with or without in-app purchases) through $30 for individual games. Alongside the uncertainty of how to price a game, developers formulate elaborate marketing plans for various stages of their work, which can include running a Kickstarter campaign, promoting their game via social media, creating, moderating and participating in fan forums, debating whether or not to release their game as an Early Access title on Steam, releasing demos, pitching their game to game journalists and local media, finding YouTube and Twitch personalities to play and promote their game, and many other activities. Indies, who do all of these things, also engage in lengthy discussions with one another to share information, usually incorporating detailed charts, graphs and statistical analyses. These post-mortems of their activities attempt to explain a game’s success or failure, as well as to rhetorically construct a particular activity as successful in some way even if sales figures are low – so it might lay the groundwork for future games, build a fan base, teach valuable lessons learned, and so on.

Em um sistema de abastecimento de água, a rede de distribuição permite a chegada de água em condições adequadas aos consumidores e, para isso, é necessário um criterioso dimensionamento. Neste trabalho, foi elaborado um método para dimensionar redes de distribuição de água por meio de uma rotina computacional que combina gradientes hidráulicos obtidos por Hazen-Williams com simulações realizadas através do EPANET com a Teoria dos Grafos. Quatro redes foram dimensionadas e realizou-se uma comparação técnica e econômica entre a metodologia desenvolvida e um método convencional. Ambos buscaram respeitar os parâmetros hidráulicos determinados, encontrando pressões similares, no entanto, o método proposto alcançou resultados mais econômicos, sendo o recomendado.

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(2019). Aceh Pasca 15 Tahun Bencana Tsunami: Kilas Balik dan Proses Pemulihan. Banda Aceh: Tsunami and Disaster Mitigation Research Center (TDMRC).Torani, S., Majd, P. M., Maroufi, S. S., Dowlati, M., Sheikhi, R. A. (2019). The Importance of Education on Disasters and Emergencies: A review article. Journal of Education and Health promotion, 8.Triatmadja, R. (2011). Tsunami: Kejadian, Penjalaran, Daya Rusak, dan Mitigasinya. Gadjah Mada University Press.Widianto, A., Damen, M. (2014). Determination of Coastal Belt in the Disaster Prone Area: A Case Study in The Coastal Area of Bantul Regency, Yogyakarta, Indonesia. The Indonesian Journal of Geography, 46(2), 125.

RESUMOO presente trabalho teve como objetivo a atualização das unidades de mapeamento de solos, definidas nos levantamentos publicados pelo Projeto Radambrasil/IBGE em 1983 e 1987, com foco principal nas classes de solos. Para tanto, foram utilizados dados de perfis de solos representativos daqueles levantamentos para classificá-los no atual Sistema Brasileiro de Classificação. As unidades de mapeamento que não dispõem de perfis representativos foram atualizadas com base apenas na correlação direta entre a denominação pela classificação antiga e a denominação pela classificação atual. Neste trabalho foi realizada também a atualização da legenda do mapa de reconhecimento de solos. A camada de informações referentes a solos, em formato shape, contendo tabela de atributos com dados sobre as unidades de mapeamento e as respectivas legendas (taxonomia, símbolos e cores) atualizadas encontra-se disponível, inclusive para baixar no navegador do Geobases para acesso ao público em geral. Foi também implementada uma interface geográfica específica para uso de parceiros do Geobases dedicados aos estudos de solos. Esta interface permite a análise, aquisição e entrada de novos dados, recurso esse que contribui para a não duplicação de esforços e de recursos financeiros em atividades de levantamento, cadastro e manutenção do banco de dados geoespacializados sobre solos no Estado. Palavras-chave: Dados espaciais, base de dados geoespacial, sistema de informações geográficas RESUMENEl presente trabajo tiene como objetivo la actualización de las unidades de mapeo de suelos, definidas en los levantamientos publicados por el Proyecto Radambrasil/IBGE en 1983 y 1987, con el énfasis principal en las clases de suelos. Para ello se utilizaron datos de perfiles de suelos representativos de dichos levantamientos para clasificarlos en el actual Sistema Brasilero de Clasificación. Las unidades de mapeo que no disponen de perfiles representativos fueron actualizadas solamente con base en la correlación directa entre sus denominaciones según la clasificación antigua y la actual. En este trabajo se realizó también la actualización de la leyenda del mapa de reconocimiento de suelos. La capa de información referente a suelos, en formato shape, contentiva de la tabla de atributos sobre las unidades de mapeo y las respectivas leyendas actualizadas (taxonomía, símbolos y colores), se encuentra disponible y puede ser descargada por el público en general a través del navegador de Geobases. También se implementó una interfase geográfica específica para el uso de los socios de Geobases dedicados a los estudios de suelos. Esta interfase permite el análisis, adquisición y entrada de nuevos datos, lo que contribuye a la no duplicación de esfuerzos y recursos financieros en las actividades de levantamiento, catastro y mantenimiento del banco de datos georeferenciados sobre los suelos del Estado.Palabras clave: Datos geoespaciales, base de datos geoespacial, sistema de información geográfica. ABSTRACTThe objective of this study was the upgrade of soil mapping units defined in surveys published by the Radambrasil/ IBGE in 1983 and 1987, with the main focus on the classes of soils. To accomplish this, data from representative soil profiles of those surveys were used to classify them in the current Brazilian Classification System. The mapping units which do not have representative profiles were updated based solely on the direct correlation between the denomination used in the old and current classification. This work has also updated the legend of the reconnaissance soil map. The layer of information related to soil, in shape format, containing an attribute table with data regarding mapping units and the respective updated legends (taxonomy, symbols and colors) is currently available and can be downloaded by the general public using the Geobases browser. A specific geographic interface for the partners of Geobases dedicated to soil studies has also been created. This interface allows the analysis, acquisition and input of new data, which contributes to the non-duplication of efforts and financial resources on activities of surveying, registering and maintenance of geospatial database related to soils in the State.Keywords: spatial data, geospatial data base, geographic information system.

Page Header OPEN JOURNAL SYSTEMS Journal Help USER Username catapan-anderson Password •••••••• Remember me NOTIFICATIONS View Subscribe LANGUAGE Select Language English JOURNAL CONTENT Search Search Scope All Browse By Issue By Author By Title Other Journals FONT SIZE HOME ABOUT LOGIN REGISTER SEARCH CURRENT ARCHIVES ANNOUNCEMENTS EBOOK PUBLISHER ON LINE CONGRESS Home > Vol 7, No 5 (2021) > Lima SÍNDROME DE BURNOUT EM ESTUDANTES DE MEDICINA / BURNOUT SYNDROME IN MEDICAL STUDENT Juliana Coelho Lima, Davi da Silva Motta, Isadora Garcia F. P. de Andrade, Albert Ferrari Tavares, Raquel Juliana de Oliveira Soares ABSTRACT A Síndrome de Burnout (SB) é um tipo de resposta prolongada a estresses emocionais e interpessoais crônicos no trabalho, levando o trabalhador a um esgotamento físico e mental. Embora tenha uma relação direta com o trabalhador, atualmente a SB também é diagnosticada em estudantes. Ela atinge principalmente os profissionais e estudantes que trabalham diretamente com outras pessoas, destacando, assim, os estudantes de medicina, já que eles estão intimamente ligados a outros em uma relação que permeia os âmbitos afetivos e emocionais. Objetivo: Analisar a prevalência da Síndrome de Burnout em estudantes de medicina de uma Universidade Privada na Cidade do Rio de Janeiro. O estudo foi do tipo exploratório, descritivo, de corte transversal, realizado em uma Universidade Privada situada na Cidade do Rio de Janeiro/RJ. Os participantes do estudo foram estudantes do curso de graduação em medicina. Para a coleta de dados utilizou-se um questionário com perguntas para caracterização dos participantes e o MBI-SS “Maslach Burnout Inventory – Student Survey.” Resultados: participaram do estudo 133 estudantes com idade média de 24 anos, 70% do sexo feminino e 93% solteiro, no qual 39 cursam o ciclo básico (29,4%), 75 o ciclo clínico (56,5%) e 18 estavam no internato (13,5%), sendo que 1 (0,8%) pessoa não respondeu esse quesito. Ao serem questionados pela quantidade de disciplinas que cursavam no semestre, 18 alunos (13,6%) cursavam de 1 a 3 disciplinas, 95 (71,4%) 4 a 6 disciplinas e 17 (12,8%) cursavam mais de 7 disciplinas. 3 (2,3%) participantes não responderam. Na avaliação dos resultados do Inventário de Burnout de Maslach para estudantes, verificamos que na categoria EE 19 alunos (14,29%) se encontravam em nível baixo a médio e 114 (85,71%) se encontravam no nível médio a alto. Já na categoria D, 97 (72,93%) estavam no nível baixo-médio e 36 (27,07%) no médio-alto. Por fim, na categoria EP 13 alunos (9,77) ficaram no nível baixo-médio, enquanto que 120 (90,23%) no nível médio alto. Conclusão: Considerando que a Síndrome de Burnout manifesta-se quando o estudante obtiver altas pontuações em exaustão emocional e descrença, associadas a baixas pontuações em eficácia profissional, conclui-se que neste estudo possuímos 8 alunos com dados compatíveis com a síndrome.

“Error: no such entry.” “The thread specified does not exist.” These messages appeared every now and then in my cyberethnography – a study of Russian-Israeli queer immigrants and their online social spaces. Anthropological research in cyberspace invites us to rethink the notion of “the field” and the very practice of ethnographic observation. In negotiating my own position as an anthropologist of online sociality, I was particularly inspired by Radhika Gajjala’s notion of “cyberethnography” as an epistemological and methodological practice of examining the relations between self and other, voice and voicelessness, belonging, exclusion, and silencing as they are mediated through information-communication technologies (“Interrupted” 183). The main cyberethnographic site of my research was the queer immigrants’ Website with its news, essays, and photo galleries, as well as the vibrant discussions that took place on the Website’s bulletin board. “The Forum,” as it was known among the participants, was visited daily by dozens, among them newbies, passers-by, and regulars. My study, dedicated to questions of home-making, violence, and belonging, was following the publications that appeared on the Website, as well as the daily discussions on the Forum. Both the publications and the discussions were archived since the Website’s creation in 2001 and throughout my fieldwork that took place in 2003-04. My participant observations of the discussions “in real time” were complemented by archival research, where one would expect to discover an anthropologist’s wildest dreams: the fully-documented everyday life of a community, a word-by-word account of what was said, when, and to whom. Or so I hoped. The “error” messages that appeared when I clicked on some of the links in the archive, or the absence of a thread I knew was there before, raised the question of erasure and deletion, of empty spaces that marked that which used to be, but which had ceased to exist. The “error” messages, in other words, disrupted my cyberethnography through what can be best described as haunting. “Haunting,” writes Avery Gordon in her Ghostly Matters, “describes how that which appears to be not there is often a seething presence, acting on and often meddling with taken-for-granted realities” (8). This essay looks into the seething presence of erasures in online archives. What is the role, I will ask, of online archives in the life of a cybercommunity? How and when are the archives preserved, and by whom? What are the relations between archives, erasure, and home-making in cyberspace? *** Many online communities based on mailing lists, newsgroups, or bulletin boards keep archives of their discussions – archives that at times go on for years. Sometimes they are accessible only to members of lists or communities that created them; other times they are open to all. Archived discussions can act as a form of collective history and as marks of belonging (or exclusion). As the records of everyday conversations remain on the Web, they provide a unique glance into the life of an online collective for a visitor or a newcomer. For those who participated in the discussions browsing through archives can bring nostalgic feelings: memories – pleasurable and/or painful – of times shared with others; memories of themselves in the past. Turning to archived discussions was not an infrequent act in the cybercommunity I studied. While there is no way to establish how many participants looked into how many archives, and how often they did so, there is a clear indicator that the archives were visited and reflected on. For one, old threads were sometimes “revived”: technically, a discussion thread is never closed unless the administrator decides to “freeze” it. If the thread is not “frozen,” anyone can go to an old discussion and post there; a new posting would automatically move an archived thread to the list of “recent”/“currently active” ones. As all the postings have times and dates, the reappearance of threads from months ago among the “recent discussions” indicates the use of archives. In addition to such “revivals,” every now and then someone would open a new discussion thread, posting a link to an old discussion and expressing thoughts about it. Sometimes it was a reflection on the Forum itself, or on the changes that took place there; many veteran participants wrote about the archived discussion in a sentimental fashion, remembering “the old days.” Other times it was a reflection on a participant’s life trajectory: looking at one’s old postings, a person would reflect on how s/he changed and sometimes on how the Website and its bulletin board changed his/her life. Looking at old discussions can be seen as performances of belonging: the repetitive reference to the archives constitutes the Forum as home with a multilayered past one can dwell on. Turning to the archives emphasises the importance of preservation, of keeping cyberwords as an object of collective possession and affective attachment. It links the individual and the collective: looking at old threads one can reflect on “how I used to be” and “how the Forum used to be.” Visiting the archives, then, constitutes the Website as simultaneously a site where belonging is performed, and an object of possession that can belong to a collective (Fortier). But the archives preserved on the Forum were never a complete documentation of the discussions. Many postings were edited immediately after appearance or later. In the first two and a half years of the Website’s existence any registered participant, as long as his/her nickname was not banned from the Forum, could browse through his/her messages and edit them. One day in 2003 one person decided to “commit virtual suicide” (as he and others called it). He went through all the postings and, since there was no option for deleting them all at once, he manually erased them one by one. Many participants were shocked to discover his acts, mourning him as well as the archives he damaged. The threads in which he had once taken part still carried signs of his presence: when participants edit their postings, all they can do is delete the text, leaving an empty space in the thread’s framework (only the administrator can modify the framework of a thread and delete text boxes). But the text box with name and date of each posting is still there. “The old discussions don’t make sense now,” a forum participant lamented, “because parts of the arguments are missing.” Following this “suicide” the Website’s administrator decided that from that point on participants could only edit their last posting but could not make any retrospective changes to the archives. Both the participants’ mourning of the mutilated threads and administrator’s decision suggest that there is a desire to preserve the archives as collective possession belonging to all and not to be tampered with by individuals. But the many conflicts between the administrator and some participants on what could be posted and what should be censored reveal that another form of ownership/ possession was at stake. “The Website is private property and I can do anything I like,” the administrator often wrote in response to those who questioned his erasure of other people’s postings, or his own rude and aggressive behaviour towards participants. Thus he broke the very rules of netiquette he had established – the Website’s terms of use prohibit personal attacks and aggressive language. Possession-as-belonging here was figured as simultaneously subjected to a collective “code of practice” and as arbitrary, dependant on one person’s changes of mind. Those who were particularly active in challenging the administrator (for example, by stating that although the Website is indeed privately owned, the interactions on the Forum belong to all; or by pointing out to the administrator that he was contradicting his own rules) were banned from the site or threatened with exclusion, and the threads where the banning was announced were sometimes deleted. Following the Forum’s rules, the administrator was censoring messages of an offensive nature, for example, commercial advertisements or links to pornographic Websites, as well as some personal attacks between participants. But among the threads doomed for erasure were also postings of a political nature, in particular those expressing radical left-wing views and opposing the tone of political loyalty dominating the site (while attacks on those participants who expressed the radical views were tolerated and even encouraged by the administrator). *** The archives that remain on the site, then, are not a full documentation of everyday narratives and conversations but the result of selection and regulation of both individual participants and – predominantly – the administrator. These archives are caught between several contradictory approaches to the Forum. One is embedded within the capitalist notion of payment as conferring ownership: I paid for the domain, says the administrator, therefore I own everything that takes place there. Another, manifested in the possibility of editing one’s postings, views cyberspeech as belonging first and foremost to the speaker who can modify and erase them as s/he pleases. The third defines the discussions that take place on the Forum as collective property that cannot be ruled by a single individual, precisely because it is the result of collective interaction. But while the second and the third approaches are shared by most participants, it is the idea of private ownership that seemed to dominate and facilitate most of the erasures. Erasure and modification performed by the administrator were not limited to censorship of particular topics, postings, or threads. The archive of the Forum as a whole was occasionally “cleared.” According to the administrator, the limited space on the site required “clearance” of the oldest threads to make room for new ones. Decisions about such clearances were not shared with anyone, nor were the participants notified about it in advance. One day parts of the archive simply disappeared, as I discovered during my fieldwork. When I began daily observations on the Website in December 2003, I looked at the archives page and saw that the General Forum section of the Forum went back for about a year and a half, and the Lesbian Forum section for about a year. I then decided to follow the discussions as they emerged and unfolded for 5-6 months, saving only the most interesting threads in my field diary, and to download all the archived threads later, for future detailed analysis. But to my great surprise, in May 2004 I discovered that while the General Forum still dated back to September 2002, the oldest thread on the Lesbian Forum was dated December 2003! All earlier threads were removed without any notice to Forum participants; and, as I learned later, no record of the threads was kept on- or offline. These examples of erasure and “clearance” demonstrate the complexity of ownership on the site: a mixture of legal and capitalist power intertwined with social hierarchies that determine which discussions and whose words are (more) valuable (The administrator has noted repeatedly that the discussions on the Lesbian Forum are “just chatter.” Ironically, both the differences in style between the General Forum and the Lesbian Forum and the administrator’s account of them resemble the (stereo)typical heterosexual gendering of talk). And while the effects and the results of erasure are compound, they undoubtly point to the complexity – and fragility! – of “home” in cyberspace and to the constant presence of violence in its constitution. During my fieldwork I felt the strange disparity between the narratives of the Website as a homey space (expressed both in the site’s official description and in some participants’ account of their experiences), and the frequent acts of erasure – not only of particular participants but more broadly of large parts of its archives. All too often, the neat picture of the “community archive” where one can nostalgically dwell on the collective past was disrupted by the “error” message. Error: no such entry. The thread specified does not exist. It was not only the incompleteness of archives that indicated fights and erasures. As I gradually learned throughout my fieldwork, the history of the Website itself was based on internal conflicts, omitted contributions, and constantly modified stories of origins. For example, the story of the Website’s establishment, as it was published in the About Us section of the site and reprinted in celebratory texts of the first anniversaries, presents the site as created by “three fathers.” The three were F, the administrator, M. who wrote, edited, and translated most of the material, and the third person whose name was never mentioned. When I asked about him on the site and later in interviews with both M. and F., they repeatedly and steadily ignored the question, and changed the subject of conversation. But the third “father” was not the only one whose name was omitted. In fact, the original Website was created by three women and another man. M. and F. joined later, and soon afterwards F., who had acted as the administrator during my fieldwork, took over the material and moved the site to another domain. Not only were the original creators erased from the site’s history; they were gradually ostracised from the new Website. When I interviewed two of the women, I mentioned the narrative of the site as a “child of three fathers.” “More like an adopted child,” chuckled one of them with bitterness, and told me the story of the original Website. Moved by their memories, the two took me to the computer. They went to the Internet Archive’s “WayBack Machine” Website – a mega-archive of sorts, an online server that keeps traces of old Web pages. One of the women managed to recover several pages of the old Website; sad and nostalgic, she shared with me the few precious traces of what was once her and her friends’ creation. But those, too, were haunted pages – most of the hyperlinks there generated “error” messages instead of actual articles or discussion threads. Error: no such entry. The thread specified does not exist. After a few years of working closely together on their “child,” M. and F. drifted apart, too. The hostility between the two intensified. Old materials (mostly written, translated, or edited by M. over a 3 year period) were moved into an archive by F. the administrator. They were made accessible through a small link hidden at the bottom of the homepage. One day they disappeared completely. Shortly afterwards, in September 2006, the Website celebrated its fifth anniversary. For this occasion the administrator wrote “the history of the Website,” where he presented it as his enterprise, noting in passing two other contributors whose involvement was short and marginal. Their names were not mentioned, but the two were described in a defaming and scornful way. *** So where do the “error” messages take us? What do they tell us about homes and communities in cyberspace? In her elaboration on cybercommunities, Radhika Gajjala notes that: Cyberspace provides a very apt site for the production of shifting yet fetishised frozen homes (shifting as more and more people get online and participate, frozen as their narratives remain on Websites and list archives through time in a timeless floating fashion) (“Interrupted”, 178). Gajjala’s notion of shifting yet fetishised and frozen homes is a useful term for capturing the nature of communication on the Forum throughout the 5 years of its existence. It was indeed a shifting home: many people came and participated, leaving parts of themselves in the archives; others were expelled and banned, leaving empty spaces and traces of erasure in the form of “error” messages. The presence of those erased or “cleared” was no longer registered in words – an ultimate sign of existence in the text-based online communication. And yet, they were there as ghosts, living through the traces left behind and the “seething presence” of haunting (Gordon 8). The Forum was a fetishised home, too, as the negotiation of ownership and the use of old threads demonstrate. However, Gajjala’s vision of archives suggests their wholeness, as if every word and every discussion is “frozen” in its entirety. The idea of fetishised homes does gesture to the complex and complicated reading of the archives; but what is left unproblematic are the archives themselves. Being attentive to the troubled, incomplete, and haunted archives invites a more careful and critical reading of cyberhomes – as Gajjala herself demonstrates in her discussion of online silences – and of the interrelation of violence and belonging in it (CyberSelves 2, 5). Constituted in cyberspace, the archives are embedded in the particular nature of online sociality, with its fantasy of timeless and floating traces, as well as with its brutality of deletion. Cyberwords do remain on archives and servers, sometimes for years; they can become ghosts of people who died or of collectives that no longer exist. But these ghosts, in turn, are haunted by the words and Webpages that never made it into the archives – words that were said but then deleted. And of course, cyberwords as fetishised and frozen homes are also haunted by what was never said in the first place, by silences that are as constitutive of homes as the words. References Fortier, Anne-Marie. “Community, Belonging and Intimate Ethnicity.” Modern Italy 1.1 (2006): 63-77. Gajjala, Radhika. “An Interrupted Postcolonial/Feminist Cyberethnography: Complicity and Resistance in the ‘Cyberfield’.” Feminist Media Studies 2.2 (2002): 177-193. Gajjala, Radhika. Cyber Selves: Feminist Ethnographies of South-Asian Women. Oxford: Alta Mira Press, 2004. Gordon, Avery. Ghostly Matters: Haunting and the Sociological Imagination. Minneapolis and London: U of Minneapolis P, 1997. Citation reference for this article MLA Style Kuntsman, Adi. "“Error: No Such Entry”: Haunted Ethnographies of Online Archives." M/C Journal 10.5 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0711/05-kuntsman.php>. APA Style Kuntsman, A. (Oct. 2007) "“Error: No Such Entry”: Haunted Ethnographies of Online Archives," M/C Journal, 10(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0711/05-kuntsman.php>.

Introdução: O ensino da disciplina de Biofísica para as ciências da saúde desde sempre exigiu grandes esforços por parte dos docentes. Com o avanço dos sistemas computacionais, os simuladores permitiram tornar algo que é abstrato (propriedades biofísicas) aos alunos em algo inteligível. No intuito de adequar-se a essas novas tecnologias, os docentese as grandes universidades adquiriram e iniciaram o uso dessas ferramentas para otimizar o ensino da disciplina. Pensando-se em uma alternativa disponível publicamente em língua portuguesa, o objetivo deste projeto de iniciação científica foi a criação de dois simuladores computacionais, o primeiro elaborado em planilhas do Excel e o segundo em plataformas com interface para uso em navegadores de internet com o intuito de calcular propriedades bioelétricas de membranas celulares e facilitar o ensino e o aprendizado desse tema para os alunos dos cursos da área da saúde. Material e Métodos: A elaboração do projeto compreendeu tarefas de levantamento bibliográfico, equacionamento de cálculos de biofísica e programação de sistemas em Visual Basic for Applications (VBA ®) e C# ® (ambas linguagens de programação proprietárias da Microsoft ™). Resultados e Discussão: O simulador de propriedades elétricas de membrana celular, nomeado de BioEletric9 já se encontra implementado e os testes realizados para averiguar sua funcionalidade e coerência dos cálculos foram satisfatórios, o que já permite utilizá-la em atividades didáticas. Conclusões: A planilha em Excel já é operacional e permite ao professor sua utilização didática como recurso informacional em sala de aula/laboratório de informática. O programa BioEletric9 encontra-se em seus últimos estágios de finalização e será submetido a umaotimização de layout depois de ter seus erros de execução corrigidos.Palavras chave: Mídias sociais, Biofísica, Ciências da saúde, Internet ABSTRACT Introduction: The teaching of biophysics for health sciences has always demanded great efforts on the part of the professors. Because of the computer systems advances, thesimulators can enable students to turn something abstract (biophysical properties) into something intelligible. In order to adapt to the new technology, professors and largeuniversities have acquired these tools and started using them to optimize the teaching of the subject. An undergraduate research project was created, as an alternative publicly available in Portuguese, where two computer simulators would be created, the first one elaborated inExcel spreadsheets and the second one in platforms with an interface for using it in internet browsers with the purpose of calculating bioelectric properties of cell membranesand facilitating the teaching and learning of this topic for students in health care courses. Materials and Methods: The elaboration of the project consisted of bibliographicsurvey, equation of biophysics calculations and systems programming in Visual Basic for Applications (VBA ®) and C # ® (both Microsoft ™ proprietary programming languages). Results and Discussion: The simulator of the electrical properties of cell membranes, named BioEletric9 has already been implemented and the tests carried out toascertain its functionality and the coherence of the calculations were satisfactory, which has already validated it to be used in teaching activities. Conclusions: The Excel spreadsheet is already operational and allows the teacher to use it as an information resource in the classroom or computer lab. The BioEletric9 program is in its final stages of adjustment and will be subjected to a layout optimization after having its execution errors corrected.Keywords: Social media, Biophysics, Health sciences, Internet

The move from analog distribution to online digital delivery is common in the contemporary mediascape. Music is in the midst of an ipod driven paradigm shift (Levy), television and movie delivery is being reconfigured (Johnson), and newspaper and magazines are confronting the reality of the world wide web and what it means for business models and ideas of journalism (Beecher). In the midst of this change, the book publishing industry remains defiant. While embracing digital production technologies, the vast majority of book content is still delivered in material form, printed and shipped the old-fashioned way—despite the efforts of many technology companies over the last decade. Even the latest efforts from corporate giants such as Sony and Amazon (who appear to have solved many of the technical hurdles of electronic reading devices) have had little visible impact. The idea of electronic books, or e-books, remains the domain of geeky early adopters (“Have”). The reasons for this are manifold, but, arguably, a broader uptake of e-books has not occurred because cultural change is much more difficult than technological change and book readers have yet to be persuaded to change their cultural habits. Electronic reading devices have been around for as long as there have been computers with screens, but serious attempts to replicate the portability, readability, and convenience of a printed book have only been with us for a decade or so. The late 1990s saw the release of a number of e-book devices. In quick succession, the likes of the Rocket e-Book, the SoftBook and the Franklin eBookman all failed to catch on. Despite this lack of market penetration, software companies began to explore the possibilities—Microsoft’s Reader software competed with a similar product from Adobe, some publishers became content providers, and a niche market of consumers began reading e-books on personal digital assistants (PDAs). That niche was sufficient for e-reading communities and shopfronts to appear, with a reasonable range of titles becoming available for purchase to feed demand that was very much driven by early adopters. But the e-book market was and remains small. For most people, books are still regarded as printed paper objects, purchased from a bookstore, borrowed from a library, or bought online from companies like Amazon.com. More recently, the introduction of e-ink technologies (EPDs) (DeJean), which allow for screens with far more book-like resolution and contrast, has provided the impetus for a new generation of e-book devices. In combination with an expanded range of titles (and deals with major publishing houses to include current best-sellers), there has been renewed interest in the idea of e-books. Those who have used the current generation of e-ink devices are generally positive about the experience. Except for some sluggishness in “turning” pages, the screens appear crisp, clear and are not as tiring to read as older displays. There are a number of devices that have embraced the new screen technologies (mobileread) but most attention has been paid to three devices in particular—mainly because their manufacturers have tried to create an ecosystem that provides content for their reading devices in much the same way that Apple’s itunes store provides content for ipods. The Sony Portable Reader (Sonystyle) was the first electronic ink device to be produced by a mainstream consumers electronics company. Sony ties the Reader to its Connect store, which allows the purchase of book titles via a computer; titles are then downloaded to the Reader in the same way that an mp3 player is loaded with music. Sony’s most prominent competition in the marketplace is Amazon’s Kindle, which does not require users to have a computer. Instead, its key feature is a constant wireless connection to Amazon’s growing library of Kindle titles. This works in conjunction with US cellphone provider Sprint to allow the purchase of books via wireless downloads wherever the Sprint network exists. The system, which Amazon calls “whispernet,” is invisible to readers and the cost is incorporated into the price of books, so Kindle users never see a bill from Sprint (“Frequently”). Both the Sony Reader and the Amazon Kindle are available only in limited markets; Kindle’s reliance on a cellphone network means that its adoption internationally is dependent on Amazon establishing a relationship with a cellphone provider in each country of release. And because both devices are linked to e-bookstores, territorial rights issues with book publishers (who trade publishing rights for particular global territories in a colonial-era mode of operation that seems to ignore the reality of global information mobility (Thompson 74–77)) contribute to the restricted availability of both the Sony and Amazon products. The other mainstream device is the iRex Iliad, which is not constrained to a particular online bookstore and thus is available internationally. Its bookstore ecosystems are local relationships—with Dymocks in Australia, Borders in the UK, and other booksellers across Europe (iRex). All three devices use EPDs and share similar specifications for the actual reading of e-books. Some might argue that the lack of a search function in the Sony and the ability to write on pages in the Iliad are quite substantive differences, but overall the devices are distinguished by their availability and the accessibility of book titles. Those who have used the devices extensively are generally positive about the experience. Amazon’s Customer Reviews are full of positive comments, and the sense from many commentators is that the systems are a viable replacement for old-fashioned printed books (Marr). Despite the good reviews—which suggest that the technology is actually now good enough to compete with printed books—the e-book devices have failed to catch on. Amazon has been hesitant to state actual sales figures, leaving it to so-called analysts to guess with the most optimistic suggesting that only 30 to 50,000 have sold since launch in late 2007 (Sridharan). By comparison, a mid-list book title (in the US) would expect to sell a similar number of copies. The sales data for the Sony Portable Reader (which has been on the market for nearly two years) and the iRex iliad are also elusive (Slocum), suggesting that they have not meaningfully changed the landscape. Tellingly, despite the new devices, the e-book industry is still tiny. Although it is growing, the latest American data show that the e-book market has wholesale revenues of around $10 million per quarter (or around $40 million per year), which is dwarfed by the $35 billion in revenues regularly earned annually in the US printed book industry ("Book"). It’s clear that despite the technological advances, e-books have yet to cross the chasm from early adopter to mainstream usage (see IPDF). The reason for this is complex; there are issues of marketing and distribution that need to be considered, as well as continuing arguments about screen technologies, appropriate publishing models, and digital rights management. It is beyond the scope of this article to do justice to those issues. Suffice to say, the book industry is affected by the same debates over content that plague other media industries (Vershbow). But, arguably, the key reason for the minimal market impact is straightforward—technological change is relatively easy, but cultural change is much more difficult. The current generation of e-book devices might be technically very close to being a viable replacement for print on paper (and the next generation of devices will no doubt be even better), but there are bigger cultural hurdles to be overcome. For most people, the social practice of reading books (du Gay et al 10) is inextricably tied with printed objects and a print culture that is not yet commonly associated with “technology” (perhaps because books, as machines for reading (Young 160), have become an invisible technology (Norman 246)). E. Annie Proulx’s dismissive suggestion that “nobody is going to sit down and read a novel on a twitchy little screen. Ever” (1994) is commonly echoed when book buyers consider the digital alternative. Those thoughts only scratch the surface of a deeply embedded cultural practice. The centuries since Gutenberg’s printing press and the vast social and cultural changes that followed positioned print culture as the dominant cultural mode until relatively recently (Eisenstein; Ong). The emerging electronic media forms of the twentieth century displaced that dominance with many arguing that the print age was moved aside by first radio and television and now computers and the Internet (McLuhan; Postman). Indeed, there is a subtext in that line of thought, one that situates electronic media forms (particularly screen-based ones) as the antithesis of print and book culture. Current e-book reading devices attempt to minimise the need for cultural change by trying to replicate a print culture within an e-print culture. For the most part, they are designed to appeal to book readers as a replacement for printed books. But it will take more than a perfect electronic facsimile of print on paper to persuade readers to disengage with a print culture that incorporates bookshops, bookclubs, writing in the margins, touching and smelling the pages and covers, admiring the typesetting, showing off their bookshelves, and visibly identifying with their collections. The frequently made technical arguments (about flashing screens and reading in the bath (Randolph)) do not address the broader apprehension about a cultural experience that many readers do not wish to leave behind. It is in that context that booklovers appear particularly resistant to any shift from print to a screen-based format. One only has to engage in a discussion about e-books (or lurk on an online forum where one is happening) to appreciate how deeply embedded print culture is (Hepworth)—book readers have a historical attachment to the printed object and it is this embedded cultural resistance that is the biggest barrier for e-books to overcome. Although e-book devices in no way resemble television, print culture is still deeply suspicious of any screen-based media and arguments are often made that the book as a physical object is critical because “different types of media function differently, and even if the content is similar the form matters quite a lot” (Weber). Of course, many in the newspaper industry would argue that long-standing cultural habits can change very rapidly and the migration of eyeballs from newsprint to the Internet is a cautionary tale (see Auckland). That specific format shift saw cultural change driven by increased convenience and a perception of decreased cost. For those already connected to the Internet, reading newspapers online represented zero marginal cost, and the range of online offerings dwarfed that of the local newsagency. The advantage of immediacy and multimedia elements, and the possibility of immediate feedback, appeared sufficient to drive many away from print towards online newspapers.For a similar shift in the e-book realm, there must be similar incentives for readers. At the moment, the only advantages on offer are weightlessness (which only appeals to frequent travellers) and convenience via constant access to a heavenly library of titles (Young 150). Amazon’s Kindle bookshop can be accessed 24/7 from anywhere there is a Sprint network coverage (Nelson). However, even this advantage is not so clear-cut—there is a meagre range of available electronic titles compared to printed offerings. For example, Amazon claims 130,000 titles are currently available for Kindle and Sony has 50,000 for its Reader, figures that are dwarfed by Amazon’s own printed book range. Importantly, there is little apparent cost advantage to e-books. The price of electronic reading devices is significant, amounting to a few hundred dollars to which must be added the cost of e-books. The actual cost of those titles is also not as attractive as it might be. In an age where much digital content often appears to be free, consumers demand a significant price advantage for purchasing online. Although some e-book titles are priced more affordably than their printed counterparts, the cost of many seems strangely high given the lack of a physical object to print and ship. For example, Amazon Kindle titles might be cheaper than the print version, but the actual difference (after discounting) is not an order of magnitude, but of degree. For example, Randy Pausch’s bestselling The Last Lecture is available for $12.07 as a paperback or $9.99 as a Kindle edition (“Last”). For casual readers, the numbers make no sense—when the price of the reading device is included, the actual cost is prohibitive for those who only buy a few titles a year. At the moment, e-books only make sense for heavy readers for whom the additional cost of the reading device will be amortised over a large number of books in a reasonably short time. (A recent article in the Wall Street Journal suggested that the break-even point for the Kindle was the purchase of 61 books (Arends).) Unfortunately for the e-book industry, not is only is that particular market relatively small, it is the one least likely to shift from the embedded habits of print culture. Arguably, should e-books eventually offer a significant cost benefit for consumers, uptake would be more dramatic. However, in his study of cellphone cultures, Gerard Goggin argues against purely fiscal motivations, suggesting that cultural change is driven by other factors—in his example, new ways of communicating, connecting, and engaging (205–211). The few market segments where electronic books have succeeded are informative. For example, the market for printed encyclopedias has essentially disappeared. Most have reinvented themselves as CD-ROMs or DVD-ROMs and are sold for a fraction of the price. Although cost is undoubtedly a factor in their market success, added features such as multimedia, searchability, and immediacy via associated websites are compelling reasons driving the purchase of electronic encyclopedias over the printed versions. The contrast with the aforementioned e-book devices is apparent with encyclopedias moving away from their historical role in print culture. Electronic encyclopedias don’t try to replicate the older print forms. Rather they represent a dramatic shift of book content into an interactive audio-visual domain. They have experimented with new formats and reconfigured content for the new media forms—the publishers in question simply left print culture behind and embraced a newly emerging computer or multimedia culture. This step into another realm of social practices also happened in the academic realm, which is now deeply embedded in computer-based delivery of research and pedagogy. Not only are scholarly journals moving online (Thompson 320–325), but so too are scholarly books. For example, at the Macquarie University Library, there has been a dramatic increase in the number of electronic books in the collection. The library purchased 895 e-books in 2005 and 68,000 in 2007. During the same period, the number of printed books purchased remained relatively stable with about 16,000 bought annually (Macquarie University Library). The reasons for the dramatic increase in e-book purchases are manifold and not primarily driven by cost considerations. Not only does the library have limited space for physical storage, but Macquarie (like most other Universities) emphasises its e-learning environment. In that context, a single e-book allows multiple, geographically dispersed, simultaneous access, which better suits the flexibility demanded of the current generation of students. Significantly, these e-books require no electronic reading device beyond a standard computer with an internet connection. Users simply search for their required reading online and read it via their web browser—the library is operating in a pedagogical culture that assumes that staff and students have ready access to the necessary resources and are happy to read large amounts of text on a screen. Again, gestures towards print culture are minimal, and the e-books in question exist in a completely different distributed electronic environment. Another interesting example is that of mobile phone novels, or “keitai” fiction, popular in Japan. These novels typically consist of a few hundred pages, each of which contains about 500 Japanese characters. They are downloaded to (and read on) cellphones for about ten dollars apiece and can sell in the millions of copies (Katayama). There are many reasons why the keitai novel has achieved such popularity compared to the e-book approaches pursued in the West. The relatively low cost of wireless data in Japan, and the ubiquity of the cellphone are probably factors. But the presence of keitai culture—a set of cultural practices surrounding the mobile phone—suggests that the mobile novel springs not from a print culture, but from somewhere else. Indeed, keitai novels are written (often on the phones themselves) in a manner that lends itself to the constraints of highly portable devices with small screens, and provides new modes of engagement and communication. Their editors attribute the success of keitai novels to how well they fit into the lifestyle of their target demographic, and how they act as community nodes around which readers and writers interact (Hani). Although some will instinctively suggest that long-form narratives are doomed with such an approach, it is worthwhile remembering that, a decade ago, few considered reading long articles using a web browser and the appropriate response to computer-based media was to rewrite material to suit the screen (Nielsen). However, without really noticing the change, the Web became mainstream and users began reading everything on their computers, including much longer pieces of text. Apart from the examples cited, the wider book trade has largely approached e-books by trying to replicate print culture, albeit with an electronic reading device. Until there is a significant cost and convenience benefit for readers, this approach is unlikely to be widely successful. As indicated above, those segments of the market where e-books have succeeded are those whose social practices are driven by different cultural motivations. It may well be that the full-frontal approach attempted to date is doomed to failure, and e-books would achieve more widespread adoption if the book trade took a different approach. The Amazon Kindle has not yet persuaded bookloving readers to abandon print for screen in sufficient numbers to mark a seachange. Indeed, it is unlikely that any device positioned specifically as a book replacement will succeed. Instead of seeking to make an e-book culture a replacement for print culture, effectively placing the reading of books in a silo separated from other day-to-day activities, it might be better to situate e-books within a mobility culture, as part of the burgeoning range of social activities revolving around a connected, convergent mobile device. Reading should be understood as an activity that doesn’t begin with a particular device, but is done with whatever device is at hand. In much the same way that other media producers make content available for a number of platforms, book publishers should explore the potential of the new mobile devices. Over 45 million smartphones were sold globally in the first three months of 2008 (“Gartner”)—somewhat more than the estimated shipments of e-book reading devices. As well as allowing a range of communications possibilities, these convergent devices are emerging as key elements in the new digital mediascape—one that allows users access to a broad range of media products via a single pocket-sized device. Each of those smartphones makes a perfectly adequate e-book reading device, and it might be useful to pursue a strategy that embeds book reading as one of the key possibilities of this growing mobility culture. The casual gaming market serves as an interesting example. While hardcore gamers cling to their games PCs and consoles, a burgeoning alternative games market has emerged, with a different demographic purchasing less technically challenging games for more informal gaming encounters. This market has slowly shifted to convergent mobile devices, exemplified by Sega’s success in selling 300,000 copies of Super Monkey Ball within 20 days of its release for Apple’s iphone (“Super”). Casual gamers do not necessarily go on to become hardcore games, but they are gamers nonetheless—and today’s casual games (like the aforementioned Super Monkey Ball) are yesterday’s hardcore games of choice. It might be the same for reading. The availability of e-books on mobile platforms may not result in more people embracing longer-form literature. But it will increase the number of people actually reading, and, just as casual gaming has attracted a female demographic (Wallace 8), the instant availability of appropriate reading material might sway some of those men who appear to be reluctant readers (McEwan). Rather than focus on printed books, and book-like reading devices, the industry should re-position e-books as an easily accessible content choice in a digitally converged media environment. This is more a cultural shift than a technological one—for publishers and readers alike. Situating e-books in such a way may alienate a segment of the bookloving community, but such readers are unlikely to respond to anything other than print on paper. Indeed, it may encourage a whole new demographic—unafraid of the flickering screen—to engage with the manifold attractions of “books.” References Arends, Brett. “Can Amazon’s Kindle Save You Money?” The Wall St Journal 24 June 2008. 25 June 2008 ‹http://online.wsj.com/article/SB121431458215899767.html? mod=rss_whats_news_technology>. Auckland, Steve. “The Future of Newspapers.” The Independent 13 Nov. 2008. 24 June 2008 ‹http://news.independent.co.uk/media/article1963543.ece>. Beecher, Eric. “War of Words.” The Monthly, June 2007: 22–26. 25 June 2008 . “Book Industry Trends 2006 Shows Publishers’ Net Revenues at $34.59 Billion for 2005.” Book Industry Study Group. 22 May 2006 ‹http://www.bisg.org/news/press.php?pressid=35>. 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Katayama, Lisa. “Big Books Hit Japan’s Tiny Phones.” Wired Jan. 2007. 24 June 2008 ‹http://www.wired.com/culture/lifestyle/news/2007/01/72329>. “The Last Lecture.” Amazon.com. 24 June 2008 ‹http://www.amazon.com/gp/product/1401323251/ref=amb_link_3359852_2? pf_rd_m=ATVPDKIKX0DER&pf_rd_s=right-1&pf_rd_r=07NDSWAK6D4HT181CNXD &pf_rd_t=101&pf_rd_p=385880801&pf_rd_i=549028>.Levy, Steven. The Perfect Thing. London:Ebury Press, 2006. Macquarie University Library Annual Report 2007. 24 June 2008 ‹http://senate.mq.edu.au/ltagenda/0308/library_report%202007.doc>. Marr, Andrew. “Curling Up with a Good EBook.” The Guardian 11 May 2007. 23 May 2007 ‹http://technology.guardian.co.uk/news/story/0,,2077278,00.html>. McEwan, Ian. “Hello, Would you Like a Free Book?” The Guardian 20 Sep. 2005. 28 June 2008 ‹http://www.guardian.co.uk/books/2005/sep/20/fiction.features11>. McLuhan, Marshall. The Gutenberg Galaxy. Toronto: U of Toronto P, 1962. Mobileread. E-book Reader Matrix, Mobileread Wiki. 30 May 2008 ‹http://wiki.mobileread.com/wiki/E-book_Reader_Matrix>. Nelson, Sara. “Warming to Kindle.” Publishers Weekly 10 Dec. 2007. 31 Jan. 2008 ‹http://www.publishersweekly.com/article/CA6510861.htm.html>. Nielsen, Jakob. “Concise, Scannable and Objective, How to Write for the Web.” 1997. ‹20 June 2008 ‹http://www.useit.com/papers/webwriting/writing.html>. Norman, Don. The Invisible Computer: Why Good Products Can Fail. Cambridge, MA: MIT P, 1998. Ong, Walter. Orality & Literacy: The Technologizing of the Word. New York: Methuen, 1988. Postman, Neil. Amusing Ourselves to Death. New York: Penguin, 1986. Proulx, E. Annie. “Books on Top.” The New York Times 26 May 1994. 28 June 2008 ‹http://www.nytimes.com/books/99/05/23/specials/proulx-top.html>. Randolph, Eleanor. “Reading into the Future.” The New York Times 18 June 2008. 19 June 2008 ‹http://www.nytimes.com/2008/06/18/opinion/18wed3.html?>. 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"You could think of our kind of scholarship," he said, "as something like 'slow food' in a fast-food culture."— Ivan Kreilkamp, co-editor of Victorian Studies(Chronicle of Higher Education, March 2009) John Hartley’s entertaining and polemical defense of a disappearing art form (the print copy journal designed to be ripped eagerly from its envelope and read from cover to cover like a good book) came my way via the usual slightly disconcerting M/C Journal overture: I believe that your research interests and background make you a potential expert reviewer of the manuscript, "LAMENT FOR A LOST RUNNING ORDER? OBSOLESCENCE AND ACADEMIC JOURNALS," which has been submitted to the '' [sic] issue of M/C Journal. The submission's extract is inserted below, and I hope that you will consider undertaking this important task for us. Automated e-mails like these keep strange company, with reminders about overdue library items and passwords about to expire. Inevitably their tone calls to mind the generic flattery of the internet scam that announces foreign business opportunities or an unexpectedly large windfall from a deceased relative. At face value, this e-mail confirms John Hartley’s suspicions about the personalised craft of journal curation. Journal editing, he implies, is going the way of drywalling and smithying—by the time we realise these ancient and time-intensive skills have been lost, it’ll be too late. The usual culprit is to the fore—the internet—and the risk presented by obsolescence is very significant. At stake is the whole rich and messy infrastructure of academic professional identity: scholarly communication, goodwill, rank, trust, service to peers, collegiality, and knowledge itself. As a time-poor reader of journals both online and in print I warmed to this argument, and enjoyed reading about the particularities of journal editing: the cultivation and refinement of a specialised academic skill set involving typefaces, cover photographs and running order. Journal editors are our creative directors. Authors think selfishly and not always consistently about content, position and opportunity, but it’s the longer term commitment of editors to taking care of their particular shingle in the colourful and crowded bazaar of scholarly publishing, that keeps the market functioning in a way that also works for inspectors and administrators. Thinking of all the print journals I’ve opened and shut and put on shelves (sometimes still in their wrappers) and got down again, and photocopied, and forgotten about, I realised that I do retain a dim sense of their look and shape, and that in practical ways this often helps me remember what was in them. Nevertheless, even having been through the process he describes, whereby “you have to log on to some website and follow prompts in order to contribute both papers and the assessment of papers; interactions with editors are minimal,” I came to the conclusion that he had underestimated the human in the practice of refereeing. I wasn’t sure made me an expert reviewer for this piece, except perhaps that in undertaking the review itself I was practising a kind of expertise that entitled me to reflect on what I was doing. So as a way of wrestling with the self-referentiality of the process of providing an anonymous report on an article whose criticism of blind refereeing I shared, I commented on the corporeality and collegiality of the practice: I knew who I was writing about (and to), and I was conscious of both disagreeing and wondering how to avoid giving offence. I was also cold in my office, and wondering about a coffee. “I suspect the cyborg reviewer is (like most cyborgs) a slightly romantic, or at least rhetorical, fantasy,” I added, a bit defensively. “Indeed, the author admits to practising editorship via a form of human intersubjectivity that involves email, so the mere fact that the communication in some cases is via a website doesn’t seem to render the human obsolete.” The cyborg reviewer wasn’t the only thing bothering me about the underlying assumptions concerning electronic scholarly publishing, however. The idea that the electronic disaggregation of content threatens the obsolescence of the print journal and its editor is a little disingenuous. Keyword searches do grab articles independently of issues, it’s true, but it’s a stretch to claim that this functionality is what’s turning diligent front-to-back readers and library flaneurs into the kinds of online mercenaries we mean when we say “users”. Quite the opposite: journal searches are highly seductive invitations to linger and explore. Setting out from the starting point of a single article, readers can now follow a citation trail, or chase up other articles by the same author or on similar topics, all the while keeping in plain sight the running order that was designed by the editors as an apt framework for the piece when it first appeared. Journal publishers have the keenest investment in nurturing the distinctive brand of each of their titles, and as a result the journal name is never far from view. Even the cover photo and layout is now likely to be there somewhere, and to crop up often as readers retrace their steps and set out again in another direction. So to propose that online access makes the syntactical form of a journal issue irrelevant to readers is to underestimate both the erotics of syntax, and the capacity of online readers to cope with a whole new libidinous economy of searching characterised by multiple syntactical options. And if readers are no longer sequestered within the pages of an individual hard copy journal—there really is a temptation to mention serial monogamy here—their freedom to operate more playfully only draws attention to the structural horizontalities of the academic public sphere, which is surely the basis of our most durable claims to profess expertise. Precisely because we are hyperlinked together across institutions and disciplines, we can justly argue that we are perpetually peer-reviewing each other, in a fairly disinterested fashion, and no longer exclusively in the kinds of locally parochial clusters that have defined (and isolated) the Australian academy. So although disaggregation irritates journal editors, a more credible risk to their craft comes from the disintermediation of scholarly communication that is one of the web’s key affordances. The shift towards user generated content, collaboratively generated, openly accessible and instantly shareable across many platforms, does make traditional scholarly publishing, with its laborious insistence on double blind refereeing, look a bit retro. How can this kind of thing not become obsolete given how long it takes for new ideas to make their way into print, what with all that courtly call and response between referees, editors and authors, and the time consumed in arranging layout and running order and cover photos? Now that the hegemons who propped up the gold standard journals are blogging and podcasting their ideas, sharing their bookmarks, and letting us know what they’re doing by the hour on Twitter, with presumably no loss of quality to their intellectual presence, what kind of premium or scarcity value can we place on the content they used to submit to print and online journals? So it seems to me that the blogging hegemon is at least as much of a problem for the traditional editor as the time challenged browser hoping for a quick hit in a keyword search. But there are much more complicated reasons why the journal format itself is not at risk, even from www.henryjenkins.org. Indeed, new “traditional” journals are being proposed and launched all the time. The mere award of an A* for the International Journal of Cultural Studies in the Australian journal rankings (Australian Research Council) confirms that journals are persistently evaluated in their own right, that the brand of the aggregating instrument still outranks the bits and pieces of disaggregated content, and that the relative standing of different journals depends precisely on the quantification of difficulty in meeting the standards (or matching the celebrity status) of their editors, editorial boards and peer reviewing panels. There’s very little indication in this process that either editors or reviewers are facing obsolescence; too many careers still depend on their continued willingness to stand in the way of the internet’s capacity to let anyone have a go at presenting ideas and research in the public domain. As the many inputs to the ERA exercise endlessly, and perhaps a bit tediously, confirmed, it’s the reputation of editors and their editorial practices that signals the exclusivity of scholarly publishing: in the era of wikis and blogs, an A* journal is one club that’s not open to all. Academia 1.0 is resilient for all these straightforward reasons. Not only in Australia, tenure and promotion depend on it. As a result, since the mid 1990s, editors, publishers, librarians and other stakeholders in scholarly communication have been keeping a wary eye on the pace and direction of change to either its routines or its standards. Their consistent attention has been on the proposition the risk comes from something loosely defined as “digital”. But as King, Tenopir and Clark point out in their study of journal readership in the sciences, the relevance of journal content itself has been extensively disputed and investigated across the disciplines since the 1960s. Despite the predictions of many authors in the 1990s that electronic publishing and pre-publishing would challenge the professional supremacy of the print journal, it seems just as likely that the simple convenience of filesharing has made more vetted academic material available, more easily, to more readers. As they note in a waspish foonote, even the author of one of the most frequently cited predictions that scholarly journals were on the way out had to modify his views, “perhaps due to the fact that his famous 1996 [sic] article "Tragic Loss or Good Riddance? The Impending Demise of Traditional Scholarly Journals" has had thousands of hits or downloads on his server alone.” (King et al,; see also Odlyzko, " Tragic Loss" and "Rapid Evolution"). In other words, all sides now seem to agree that “digital” has proved to be both opportunity and threat to scholarly publication. Odlyzko’s prediction of the disappearance of the print journal and its complex apparatus of self-perpetuation was certainly premature in 1996. So is John Hartley right that it’s time to ask the question again? Earlier this year, the Chronicle of Higher Education’s article “Humanities Journals Confront Identity Crisis”, which covered much of the same ground, generated brisk online discussion among journal editors in the humanities (Howard; see also the EDITOR-L listserv archive). The article summarised the views of a number of editors of “traditional” journals, and offset these with the views of a group representing the Council of Editors of Learned Journals, canvassing the possibility that scholarly publishing could catch up to the opportunities that we tend to shorthand as “web 2.0”. The short-lived CELJ blog discussion led by Jo Guldi in February 2009 proposed four principles we might expect to shape the future of scholarly publishing in the humanities: technical interoperability, which is pretty uncontroversial; the expansion of scholarly curation to a role in managing and making sense of “the noise of the web”; diversification of content types and platforms; and a more inclusive approach to the contribution of non-academic experts. (Guldi et al.) Far from ceding the inexorability of their own obsolescence, the four authors of this blog (each of them journal editors) have re-imagined the craft of editing, and have drafted an amibitious but also quite achievable manifesto for the renovation of scholarly communication. This is focused on developing a new and more confident role for the academy in the next phase of the development of the knowledge-building capacity of the web. Rather than confining themselves to being accessed only by their professional peers (and students) via university libraries in hardcopy or via institutional electronic subscription, scholars should be at the forefront of the way knowledge is managed and developed in the online public sphere. This would mean developing metrics that worked as well for delicious and diigo as they do for journal rankings; and it would mean a more upfront contribution to quality assurance and benchmarking of information available on the web, including information generated from outside the academy. This resonates with John Hartley’s endorsement of wiki-style open refereeing, which as an idea contains a substantial backwards nod to Ginsparg’s system of pre-publication of the early 1990s (see Ginsparg). It also suggests a more sophisticated understanding of scholarly collaboration than the current assumption that this consists exclusively of a shift to multiply-authored content, the benefit of which has tended to divide scholars in the humanities (Young). But it was not as a reviewer or an author that this article really engaged me in thinking about the question of human obsolescence. Recently I’ve been studying the fragmentation, outsourcing and automation of work processes in the fast food industry or, as it calls itself, the Quick Service Restaurant trade. I was drawn into this study by thinking about the complex reorganisation of time and communication brought about by the partial technologisation of the McDonalds drive-thru in Australia. Now that drive-thru orders are taken through a driveway speaker, the order window (and its operator) have been rendered obsolete, and this now permanently closed window is usually stacked high with cardboard boxes. Although the QSR industry in the US has experimented with outsourcing ordering to call centres at other locations (“May I take your order?”), in Australia the task itself has simply been added to the demands of customer engagement at the paying window, with the slightly odd result that the highest goal of customer service at this point is to be able to deal simultaneously with two customers at two different stages of the drive-thru process—the one who is ordering three Happy Meals and a coffee via your headset, and the one who is sitting in front of you holding out money—without offending or confusing either. This formal approval of a shift from undivided customer attention to the time-efficiency of multitasking is a small but important reorientation of everyday service culture, making one teenager redundant and doubling the demands placed on the other. The management of quick service restaurant workers and their productivity offers us a new perspective on the pressures we are experiencing in the academic labour market. Like many of my colleagues, I have been watching with a degree of ambivalence the way in which the national drive to quantify excellence in research in Australia has resulted in some shallow-end thinking about how to measure what it is that scholars do, and how to demonstrate that we are doing it competitively. Our productivity is shepherded by the constant recalibration of our workload, conceived as a bundle of discrete and measurable tasks, by anxious institutions trying to stay ahead in the national game of musical chairs, which only offers a limited number of seats at the research table—while still keeping half an eye on their enterprise bargaining obligations. Or, as the Quick Service Restaurant sector puts it: Operational margins are narrowing. While you need to increase the quality, speed and accuracy of service, the reality is that you also need to control labor costs. If you reduce unnecessary labor costs and improve workforce productivity, the likelihood of expanding your margins increases. Noncompliance can cost you. (Kronos) In their haste to increase quality, speed and accuracy of academic work, while lowering labor costs and fending off the economic risk of noncompliance, our institutions have systematically overlooked the need to develop meaningful ways to accommodate the significant scholarly work of reading, an activity that takes real time, and that in its nature is radically incompatible with the kinds of multitasking we are all increasingly using to manage the demands placed on us. Without a measure of reading, we fall back on the exceptionally inadequate proxy of citation. As King et al. point out, citation typically skews towards a small number of articles, and the effect of using this as a measure of reading is to suggest that the majority of articles are never read at all. Their long-term studies of what scientists read, and why, have been driven by the need to challenge this myth, and they have demonstrated that while journals might not be unwrapped and read with quite the Christmas-morning eagerness that John Hartley describes, their content is eventually read more than once, and often more than once by the same person. Both electronic scholarly publishing, and digital redistribution of material original published in print, have greatly assisted traditional journals in acquiring something like the pass-on value of popular magazines in dentists’ waiting rooms. But for all this to work, academics have to be given time to sit and read, and as it would be absurd to try to itemise and remunerate this labour specifically, then this time needs to be built into the normative workload for anyone who is expected to engage in any of the complex tasks involved in the collaborative production of knowledge. With that in mind, I concluded my review on what I hoped was a constructive note of solidarity. “What’s really under pressure here—forms of collegiality, altruism and imaginative contributions to a more outward-facing type of scholarship—is not at risk from search engines, it seems to me. What is being pressured into obsolescence, risking subscriptions to journals as much as purchases of books, is the craft and professional value placed on reading. This pressure is not coming from the internet, but from all the other bureaucratic rationalities described in this paper, that for the time being do still value journals selectively above other kinds of public contribution, but fail to appreciate the labour required to make them appear in any form, and completely overlook the labour required to absorb their contents and respond.” For obvious reasons, my warm thanks are due to John Hartley and to the two editors of this M/C Journal issue for their very unexpected invitation to expand on my original referee’s report.References Australian Research Council. “The Excellence in Research for Australia (ERA) Initiative: Journal Lists.” 2009. 3 July 2009 ‹http://www.arc.gov.au/era/era_journal_list.htm›. Ginsparg, Paul. “Can Peer Review be Better Focused?” 2003. 1 July 2009 ‹http://people.ccmr.cornell.edu/~ginsparg/blurb/pg02pr.html›. Guldi, Jo, Michael Widner, Bonnie Wheeler, and Jana Argersinger. The Council of Editors of Learned Journals Blog. 2009. 1 July 2009 ‹http://thecelj.blogspot.com›. Howard, Jennifer. “Humanities Journals Confront Identity Crisis.” The Chronicle of Higher Education 27 Mar. 2009. 1 July 2009 ‹http://chronicle.com/free/v55/i29/29a00102.htm›. King, Donald, Carol Tenopir, and Michael Clarke. "Measuring Total Reading of Journal Articles." D-Lib Magazine 12.10 (2006). 1 July 2009 ‹http://www.dlib.org/dlib/october06/king/10king.html›. Kronos Incorporated. “How Can You Reduce Your Labor Costs without Sacrificing Speed of Service?” (2009). 1 July 2009 ‹http://www.qsrweb.com/white_paper.php?id=1738&download=1›.“May I Take Your Order? Local McDonald's Outsources to a Call Center.” Billings Gazette, Montana, 5 July 2006. SharedXpertise Forum. 1 July 2009 ‹http://www.sharedxpertise.org/file/3433/mcdonalds-outsourcing-to-call-center.html›.Odlyzko, Andrew. “The Rapid Evolution of Scholarly Publishing.” Learned Publishing 15.1 (2002): 7-19. ———. “Tragic Loss or Good Riddance? The Impending Demise of Traditional Scholarly Journals.” International Journal of Human-Computer Studies 42 (1995): 71-122. Young, Jeffrey. “Digital Humanities Scholars Collaborate More on Journal Articles than 'Traditional' Researchers.” The Chronicle of Higher Education 27 April 2009. 1 July 2009 ‹http://chronicle.com/wiredcampus/article/3736/digital-humanities-scholars-collaborate-more-on-journal-articles-than-on-traditional-researchers›.

The Internet has connected people and cultures in a way that, just ten years ago, was unimaginable. Because of the net, materials once scarce are now ubiquitous. Indeed, never before in human history have so many people had so much access to such a wide variety of cultural material, yet far from heralding a new cultural nirvana, we are facing a creative lock-down. Over the last hundred years, copyright term has been extended time and again by a creative industry eager to hold on to the exclusive rights to its most lucrative materials. Previously, these rights guaranteed a steady income because the industry controlled supply and, in many cases, manufactured demand. But now culture has moved from being physical artefacts that can be sold or performances that can be experienced to being collections of 1s and 0s that can be easily copied and exchanged. People are revelling in the opportunity to acquire and experience music, movies, TV, books, photos, essays and other materials that they would otherwise have missed out on; and they picking up the creative ball and running with it, making their own version, remixes, mash-ups and derivative works. More importantly than that, people are producing and sharing their own cultural resources, publishing their own original photos, movies, music, writing. You name it, somewhere someone is making it, just for the love of it. Whilst the creative industries are using copyright law in every way they can to prosecute, shut down, and scare people away from even legitimate uses of cultural materials, the law itself is becoming increasingly inadequate. It can no longer deal with society’s demands and expectations, nor can it cope with modern forms of collaboration facilitated by technologies that the law makers could never have anticipated. Understanding Copyright Copyright is a complex area of law and even a seemingly simple task like determining whether a work is in or out of copyright can be a difficult calculation, as illustrated by flowcharts from Tim Padfield of the National Archives examining the British system, and Bromberg & Sunstein LLP which covers American works. Despite the complexity, understanding copyright is essential in our burgeoning knowledge economies. It is becoming increasingly clear that sharing knowledge, skills and expertise is of great importance not just within companies but also within communities and for individuals. There are many tools available today that allow people to work, synchronously or asynchronously, on creative endeavours via the Web, including: ccMixter, a community music site that helps people find material to remix; YouTube, which hosts movies; and JumpCut:, which allows people to share and remix their movies. These tools are being developed because of the increasing number of cultural movements toward the appropriation and reuse of culture that are encouraging people to get involved. These movements vary in their constituencies and foci, and include the student movement FreeCulture.org, the Free Software Foundation, the UK-based Remix Commons. Even big business has acknowledged the importance of cultural exchange and development, with Apple using the tagline ‘Rip. Mix. Burn.’ for its controversial 2001 advertising campaign. But creators—the writers, musicians, film-makers and remixers—frequently lose themselves in the maze of copyright legislation, a maze complicated by the international aspect of modern collaboration. Understanding of copyright law is at such a low ebb because current legislation is too complex and, in parts, out of step with modern technology and expectations. Creators have neither the time nor the motivation to learn more—they tend to ignore potential issues and continue labouring under any misapprehensions they have acquired along the way. The authors believe that there is an urgent need for review, modernisation and simplification of intellectual property laws. Indeed, in the UK, intellectual property is currently being examined by a Treasury-level review lead by Andrew Gowers. The Gowers Review is, at the time of writing, accepting submissions from interested parties and is due to report in the Autumn of 2006. Internationally, however, the situation is likely to remain difficult, so creators must grasp the nettle, educate themselves about copyright, and ensure that they understand the legal ramifications of collaboration, publication and reuse. What Is Collaboration? Wikipedia, a free online encyclopaedia created and maintained by unpaid volunteers, defines collaboration as “all processes wherein people work together—applying both to the work of individuals as well as larger collectives and societies” (Wikipedia, “Collaboration”). These varied practices are some of our most common and basic tendencies and apply in almost every sphere of human behaviour; working together with others might be described as an instinctive, pragmatic or social urge. We know we are collaborating when we work in teams with colleagues or brainstorm an idea with a friend, but there are many less familiar examples of collaboration, such as taking part in a Mexican wave or standing in a queue. In creative works, the law expects collaborators to obtain permission to reuse work created by others before they embark upon that reuse. Yet this distinction between ‘my’ work and ‘your’ work is entirely a legal and social construct, as opposed to an absolute fact of human nature, and new technologies are blurring the boundaries between what is ‘mine’ and what is ‘yours’ whilst new cultural movements posit a third position, ‘ours’. Yochai Benkler coined the term ‘commons-based peer production’ (Benkler, Coase’s Penguin; The Wealth of Nations) to describe collaborative efforts, such as free and open-source software or projects such as Wikipedia itself, which are based on sharing information. Benkler posits this particular example of collaboration as an alternative model for economic development, in contrast to the ‘firm’ and the ‘market’. Benkler’s notion sits uncomfortably with the individualistic precepts of originality which dominate IP policy, but with examples of commons-based peer production on the increase, it cannot be ignored when considering how new technologies and ways of working interact with existing and future copyright legislation. The Development of Collaboration When we think of collaboration we frequently imagine academics working together on a research paper, or musicians jamming together to write a new song. In academia, researchers working on a project are expected to write papers for publication in journals on a regular basis. The motto ‘publish or die’ is well known to anyone who has worked in academic circle—publishing papers is the lifeblood of the academic career, forming the basis of a researcher’s status within the academic community and providing data and theses for other researchers to test and build upon. In these circumstances, copyright is often assigned by the authors to a journal and, because there is no direct commercial outcome for the authors, conflicts regarding copyright tend to be restricted to issues such as reuse and reproduction. Within the creative industries, however, the focus of the collaboration is to derive commercial benefit from the work, so copyright issues, such as division of fees and royalties, plagiarism, and rights for reuse are much more profitable and hence they are more vigorously pursued. All of these issues are commonly discussed, documented and well understood. Less well understood is the interaction between copyright and the types of collaboration that the Internet has facilitated over the last decade. Copyright and Wikis Ten years ago, Ward Cunningham invented the ‘wiki’—a Web page which could be edited in situ by anyone with a browser. A wiki allows multiple users to read and edit the same page and, in many cases, those users are either anonymous or identified only by a nickname. The most famous example of a wiki is Wikipedia, which was started by Jimmy Wales in 2001 and now has over a million articles and over 1.2 million registered users (Wikipedia, “Wikipedia Statistics”). The culture of online wiki collaboration is a gestalt—the whole is greater than the sum of the parts and the collaborators see the overall success of the project as more important than their contribution to it. The majority of wiki software records every single edit to every page, creating a perfect audit trail of who changed which page and when. Because copyright is granted for the expression of an idea, in theory, this comprehensive edit history would allow users to assert copyright over their contributions, but in practice it is not possible to delineate clearly between different people’s contributions and, even if it was possible, it would simply create a thicket of rights which could never be untangled. In most cases, wiki users do not wish to assert copyright and are not interested in financial gain, but when wikis are set up to provide a source of information for reuse, copyright licensing becomes an issue. In the UK, it is not possible to dedicate a piece of work to the public domain, nor can you waive your copyright in a work. When a copyright holder wishes to licence their work, they can only assign that licence to another person or a legal entity such as a company. This is because in the UK, the public domain is formed of the ‘leftovers’ of intellectual property—works for which copyright has expired or those aspects of creative works which do not qualify for protection. It cannot be formally added to, although it certainly can be reduced by, for example, extension of copyright term which removes work from the public domain by re-copyrighting previously unprotected material. So the question becomes, to whom does the content of a wiki belong? At this point traditional copyright doctrines are of little use. The concept of individuals owning their original contribution falls down when contributions become so entangled that it’s impossible to split one person’s work from another. In a corporate context, individuals have often signed an employment contract in which they assign copyright in all their work to their employer, so all material created individually or through collaboration is owned by the company. But in the public sphere, there is no employer, there is no single entity to own the copyright (the group of contributors not being in itself a legal entity), and therefore no single entity to give permission to those who wish to reuse the content. One possible answer would be if all contributors assigned their copyright to an individual, such as the owner of the wiki, who could then grant permission for reuse. But online communities are fluid, with people joining and leaving as the mood takes them, and concepts of ownership are not as straightforward as in the offline world. Instead, authors who wished to achieve the equivalent of assigning rights to the public domain would have to publish a free licence to ‘the world’ granting permission to do any act otherwise restricted by copyright in the work. Drafting such a licence so that it is legally binding is, however, beyond the skills of most and could be done effectively only by an expert in copyright. The majority of creative people, however, do not have the budget to hire a copyright lawyer, and pro bono resources are few and far between. Copyright and Blogs Blogs are a clearer-cut case. Blog posts are usually written by one person, even if the blog that they are contributing to has multiple authors. Copyright therefore resides clearly with the author. Even if the blog has a copyright notice at the bottom—© A.N. Other Entity—unless there has been an explicit or implied agreement to transfer rights from the writer to the blog owner, copyright resides with the originator. Simply putting a copyright notice on a blog does not constitute such an agreement. Equally, copyright in blog comments resides with the commenter, not the site owner. This reflects the state of copyright with personal letters—the copyright in a letter resides with the letter writer, not the recipient, and owning letters does not constitute a right to publish them. Obviously, by clicking the ‘submit’ button, commenters have decided themselves to publish, but it should be remembered that that action does not transfer copyright to the blog owner without specific agreement from the commenter. Copyright and Musical Collaboration Musical collaboration is generally accepted by legal systems, at least in terms of recording (duets, groups and orchestras) and writing (partnerships). The practice of sampling—taking a snippet of a recording for use in a new work—has, however, changed the nature of collaboration, shaking up the recording industry and causing a legal furore. Musicians have been borrowing directly from each other since time immemorial and the student of classical music can point to many examples of composers ‘quoting’ each other’s melodies in their own work. Folk musicians too have been borrowing words and music from each other for centuries. But sampling in its modern form goes back to the musique concrète movement of the 1940s, when musicians used portions of other recordings in their own new compositions. The practice developed through the 50s and 60s, with The Beatles’ “Revolution 9” (from The White Album) drawing heavily from samples of orchestral and other recordings along with speech incorporated live from a radio playing in the studio at the time. Contemporary examples of sampling are too common to pick highlights, but Paul D. Miller, a.k.a. DJ Spooky ‘that Subliminal Kid’, has written an analysis of what he calls ‘Rhythm Science’ which examines the phenomenon. To begin with, sampling was ignored as it was rare and commercially insignificant. But once rap artists started to make significant amounts of money using samples, legal action was taken by originators claiming copyright infringement. Notable cases of illegal sampling were “Pump Up the Volume” by M/A/R/R/S in 1987 and Vanilla Ice’s use of Queen/David Bowie’s “Under Pressure” in the early 90s. Where once artists would use a sample and sort out the legal mess afterwards, such high-profile litigation has forced artists to secure permission for (or ‘clear’) their samples before use, and record companies will now refuse to release any song with uncleared samples. As software and technology progress further, so sampling progresses along with it. Indeed, sampling has now spawned mash-ups, where two or more songs are combined to create a musical hybrid. Instead of using just a portion of a song in a new composition which may be predominantly original, mash-ups often use no original material and rely instead upon mixing together tracks creatively, often juxtaposing musical styles or lyrics in a humorous manner. One of the most illuminating examples of a mash-up is DJ Food Raiding the 20th Century which itself gives a history of sampling and mash-ups using samples from over 160 sources, including other mash-ups. Mash-ups are almost always illegal, and this illegality drives mash-up artists underground. Yet, despite the fact that good mash-ups can spread like wildfire on the Internet, bringing new interest to old and jaded tracks and, potentially, new income to artists whose work had been forgotten, this form of musical expression is aggressively demonised upon by the industry. Given the opportunity, the industry will instead prosecute for infringement. But clearing rights is a complex and expensive procedure well beyond the reach of the average mash-up artist. First, you must identify the owner of the sound recording, a task easier said than done. The name of the rights holder may not be included in the original recording’s packaging, and as rights regularly change hands when an artist’s contract expires or when a record label is sold, any indication as to the rights holder’s identity may be out of date. Online musical databases such as AllMusic can be of some use, but in the case of older or obscure recordings, it may not be possible to locate the rights holder at all. Works where there is no identifiable rights holder are called ‘orphaned works’, and the longer the term of copyright, the more works are orphaned. Once you know who the rights holder is, you can negotiate terms for your proposed usage. Standard fees are extremely high, especially in the US, and typically discourage use. This convoluted legal culture is an anachronism in desperate need of reform: sampling has produced some of the most culturally interesting and financially valuable recordings of the past thirty years, so should be supported rather than marginalised. Unless the legal culture develops an acceptance for these practices, the associated financial and cultural benefits for society will not be realised. The irony is that there is already a successful model for simplifying licensing. If a musician wishes to record a cover version of a song, then royalty terms are set by law and there is no need to seek permission. In this case, the lawmakers have recognised the social and cultural benefit of cover versions and created a workable solution to the permissions problem. There is no logical reason why a similar system could not be put in place for sampling. Alternatives to Traditional Copyright Copyright, in its default structure, is a disabling force. It says that you may not do anything with my work without my permission and forces creators wishing to make a derivative work to contact me in order to obtain that permission in writing. This ‘permissions society’ has become the norm, but it is clear that it is not beneficial to society to hide away so much of our culture behind copyright, far beyond the reach of the individual creator. Fortunately there are fast-growing alternatives which simplify whilst encouraging creativity. Creative Commons is a global movement started by academic lawyers in the US who thought to write a set of more flexible copyright licences for creative works. These licenses enable creators to precisely tailor restrictions imposed on subsequent users of their work, prompting the tag-line ‘some rights reserved’ Creators decide if they will allow redistribution, commercial or non-commercial re-use, or require attribution, and can combine these permissions in whichever way they see fit. They may also choose to authorise others to sample their works. Built upon the foundation of copyright law, Creative Commons licences now apply to some 53 million works world-wide (Doctorow), and operate in over 60 jurisdictions. Their success is testament to the fact that collaboration and sharing is a fundamental part of human nature, and treating cultural output as property to be locked away goes against the grain for many people. Creative Commons are now also helping scientists to share not just the results of their research, but also data and samples so that others can easily replicate experiments and verify or refute results. They have thus created Science Commons in an attempt to free up data and resources from unnecessary private control. Scientists have been sharing their work via personal Web pages and other Websites for many years, and additional tools which allow them to benefit from network effects are to be welcomed. Another example of functioning alternative practices is the Remix Commons, a grassroots network spreading across the UK that facilitates artistic collaboration. Their Website is a forum for exchange of cultural materials, providing a space for creators to both locate and present work for possible remixing. Any artistic practice which can reasonably be rendered online is welcomed in their broad church. The network’s rapid expansion is in part attributable to its developers’ understanding of the need for tangible, practicable examples of a social movement, as embodied by their ‘free culture’ workshops. Collaboration, Copyright and the Future There has never been a better time to collaborate. The Internet is providing us with ways to work together that were unimaginable even just a decade ago, and high broadband penetration means that exchanging large amounts of data is not only feasible, but also getting easier and easier. It is possible now to work with other artists, writers and scientists around the world without ever physically meeting. The idea that the Internet may one day contain the sum of human knowledge is to underestimate its potential. The Internet is not just a repository, it is a mechanism for new discoveries, for expanding our knowledge, and for making links between people that would previously have been impossible. Copyright law has, in general, failed to keep up with the amazing progress shown by technology and human ingenuity. It is time that the lawmakers learnt how to collaborate with the collaborators in order to bring copyright up to date. References Apple. “Rip. Mix. Burn.” Advertisement. 28 April 2006 http://www.theapplecollection.com/Collection/AppleMovies/mov/concert_144a.html>. Benkler, Yochai. Coase’s Penguin. Yale Law School, 1 Dec. 2002. 14 April 2006 http://www.benkler.org/CoasesPenguin.html>. ———. The Wealth of Nations. New Haven: Yape UP, 2006. Bromberg & Sunstein LLP. Flowchart for Determining when US Copyrights in Fixed Works Expire. 14 Apr. 2006 http://www.bromsun.com/practices/copyright-portfolio-development/flowchart.htm>. DJ Food. Raiding the 20th Century. 14 April 2006 http://www.ubu.com/sound/dj_food.html>. Doctorow, Cory. “Yahoo Finds 53 Million Creative Commons Licensed Works Online.” BoingBoing 5 Oct. 2005. 14 April 2006 http://www.boingboing.net/2005/10/05/yahoo_finds_53_milli.html>. Miller, Paul D. Rhythm Science. Cambridge, Mass.: MIT Press, 2004. Padfield, Tim. “Duration of Copyright.” The National Archives. 14 Apr. 2006 http://www.kingston.ac.uk/library/copyright/documents/DurationofCopyright FlowchartbyTimPadfieldofTheNationalArchives_002.pdf>. Wikipedia. “Collaboration.” 14 April 2006 http://en.wikipedia.org/wiki/Collaboration>. ———. “Wikipedia Statistics.” 14 April 2006 http://en.wikipedia.org/wiki/Special:Statistics>. Citation reference for this article MLA Style Charman, Suw, and Michael Holloway. "Copyright in a Collaborative Age." M/C Journal 9.2 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0605/02-charmanholloway.php>. APA Style Charman, S., and M. Holloway. (May 2006) "Copyright in a Collaborative Age," M/C Journal, 9(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0605/02-charmanholloway.php>.

The first thing you do when you begin your PhD is label your Endnote library “the woods.” Your supervisor has warned you: you must not get lost. I know you, your supervisor says, you’ll wander around forever, out there amongst the research. You’re too scared to tell them that you’ve already wandered off the beaten track, skirted around the signs that say "beware of the neurosis," and become entangled. According to the dictionary, neurosis is characterised by “obsessive thoughts and compulsive acts.” Perhaps you fell into this state way back at the beginning when things started getting rocky. The woods are dense now. You have a vague sense that there’s something out there, a many-headed creature with teeth—and possibly a red pen—waiting to pounce, to tear off your academic garb and reveal the fraud beneath. But the journey’s been worth it; up ahead you see a gap in the trees. You catch a glimpse of sky, and the possibilities beyond. There’s no point complaining about all of this. You’ve no one to blame but yourself; the minute you began, you were asking for trouble. This special issue of M/C Journal emerges from the Ignite10! Postgraduate Student Conference held at the Queensland University of Technology (QUT) in September 2010. The conference was titled Looking for Trouble. Postgraduate research students at QUT felt that conflict, or “trouble,” was an appropriate theme to encapsulate their endeavours in the critical and creative spheres of arts, media and social sciences at the bi-annual multidisciplinary conference. The conference was designed to spark postgraduate research culture within the Creative Industries (CI) Faculty. Ignite10! aimed to showcase the diversity of postgraduate research within the CI Faculty and provide postgraduate researchers with the opportunity to present research papers and creative works in a critical and supportive environment. As beginning research students, we are told that we need to find a research “problem” or “question.” Trouble is a synonym for “problem” and perhaps it is fitting that the research problem that we are encouraged and required to answer as students can also be substituted with the word “trouble,” as that is undoubtedly what it causes. A researcher’s contribution to knowledge relies on the ability to identify gaps in the knowledge and to be dissatisfied with what is the current status quo. A researcher seeks out trouble—not without trepidation—because they know trouble can be the site for new innovation, new approaches and new discoveries. The metaphor of a journey is an apt one, for research narratives, like fictional ones, move from a stable beginning, through complications and rising action to another point of equilibrium at the end (Brady 16). As Barbara Hardy states, narrative “should not be regarded as an aesthetic intervention used by artists, but as a primary act of mind transferred from art to life” (5). While the conference focused on the troubles encountered in the postgraduate research journey in particular, this special issue of M/C Journal has a wider focus, although these troublesome research narratives operate implicitly beneath the words. As a result, the papers in this special issue speak to the theme of trouble on two levels. Firstly, researchers identify trouble explicitly when establishing a gap in the knowledge or challenging an existing convention or practice. These papers also represent the finalisation of the implicit or personal journey through the research. They are the culmination of trouble. Each paper demonstrates one in a multiplicity of approaches to dealing with “trouble” in research across a variety of disciplines. The first paper in this edition, Ladies on the Loose: Contemporary Female Travel as a "Promiscuous" Excursion, examines the troubling nature of female travel writing and, in particular, the tendency of women travel writers to preface their work with an apology. Kate Cantrell explores the expectations and limitations placed on female travellers whose journeys outside the sphere of the home are traditionally viewed as hazardous. The problematic feeling of guilt associated with leaving the home raises questions of female travellers actively going out and looking for trouble. Cantrell analyses key travel texts including Robyn Davidson’s Tracks, Elizabeth Gilbert’s Eat, Pray, Love and several iterations of the fairytale, Little Red Riding Hood. This paper illuminates the troubling divide that still exists within the gendered practice of travel. While Kate Cantrell traversed the world of travel in her paper, Timothy Strom’s Space, Cyberspace and Interface: The Trouble with Google Maps traverses the digital world of Geographic Information Systems—in particular, Google Maps. Strom is certainly “asking for trouble” by challenging the routine behaviour of contemporary consumers. As a result of the enormous surge in smart phones, the Google Maps application is used by a staggering amount of people. According to current research in the United Kingdom, Google Maps is the leading application with 6.4 million users or 73.3% of all UK application users (ComScore). Strom’s paper raises some interesting similarities between the empires of colonial eras in the past and the current “Google Empire” of today. Advertising buys businesses substantial representation on Google Maps, yet the process lacks transparency; the scaling of business symbols, for instance, appears radically different for no apparent reason. It is indeed troubling to think of society’s tools, which most consumers use without thought, can be politically and commercially aligned. Yet Strom encounters what all of this issue’s researchers did; by challenging and exploring the cartographic elements of Google Maps and striving to make visible what is otherwise an invisible process, he has stumbled upon more questions rather than answers. Mashups are one possibility of “resistance,” Strom suggests, but ultimately it would require eliminating the product-driven ideology that underpins the corporation. This is potentially too idealistic for our increasingly globalised and consumerist society. Maree Kimberley also identifies the possibility of resistance in her paper, Neuroscience and Young Adult Fiction: A Recipe for Trouble? Kimberley identifies a troubling trend in young adult dystopian fiction that relies on neuroscientific concepts. Recent developments in neuroscience have revealed that the structure of the human brain has the ability to change in profound and long-lasting ways, a characteristic know as neuroplasticity. The adolescent brain displays this plastic quality; during adolescence skills such as impulse control and decision-making are still in a process of development. Kimberley cites examples from Scott Westerfield’s Uglies series; Brian Klass’s Dark Angel and Brian Faulkner’s Brain Jack to demonstrate that although this new discovery has the potential to empower adolescents in fictive works, affirming the notion that they have the ability to shape their own minds and behaviours, many writers of young adult dystopian fiction represent their teenager characters as having no control over the shaping of their own brains. In identifying this lack, Kimberley opens up the opportunity for a new kind of young adult writing that situates the power of neuroscience firmly in the hands of adolescents. But, she warns, teenagers challenging the authority of adults may be a recipe for trouble. Richard Carroll has already discovered trouble in his paper The Trouble with History and Fiction, which documents the on-going conflict between historians and writers of fictive history as they grapple with ways of representing the past. Carroll observes that historians and writers of historical fiction are both constructing the past through narrative forms. However, while the historian is bound by the need to verify their claims from a variety of valid sources, the writer of fiction is free to imagine and invent. In a post-modern era, historians face what Norman Denzin and Yvonna Lincoln (19) describe “as a crisis of representation.” Some historians’ self-exclusion from the imaginary have left them on shaky ground, and opened up a space for historical fiction writers like Kate Grenville to produce texts that are at once imaginative and based on historial reality. As Carroll notes, however, Grenville’s act of fictionalising history has not escaped criticism. In this paper, Carroll reminds us that an act that attempts to move between discourses, such as the fictive and the factual, is bound to cause trouble. Ariella Van Luyn’s creative work, Crocodile Hunt, occupies the borders of factual and fictive discourse that Carroll explores. Set in Brisbane, the work intertwines the personal trouble encountered by the main character, Murray, after the breakdown of his relationship, with the wider political turmoil that culminates with the bombing of the Communist Party headquarters in Brisbane in 1972. Unlike traditional historical accounts, this fictionalised history focuses on the personal and emotional response of characters. This story demonstrates the ways in which imagination can serve as a tool to negotiate the troubling gap in an historical narrative. The final inclusion in the edition is a creative work by Jarryd Luke. Although not as localised as Van Luyn’s narrative, Halfway House creatively explores troubles in its two young protagonists. Luke’s haunting short story speaks of two twins that escape an uncomfortable home life on the back of truck—in half a house being transported across the country. The narrative is troubling for many reasons. It illustrates the struggles the boys have with each other, with society, and the expectations placed upon them. The symbol of a broken house, literally cut through the middle, is a powerful one; Luke’s descriptive prose creates a troubled image of a house in crisis—hallways that lead to nowhere, rooms without doors. As Kimberley explores the more troubling side of dystopic youth fiction, Luke’s story is a disturbing image of male youth that blindly takes opportunities with no thought to where it might lead them. Ryan and Josh are certainly troubled characters, and like intrepid researchers, have no concept of what awaits them. Interestingly, they are never free of trouble, despite escaping the clutches of their violent father (for now), they encounter trouble at every turn. Trouble continues to find them, whether they are searching for it or not. What these papers share is the mapping of uncharted territories: whether it is the spaces between young adult fiction and neuroscience, or the spaces between history and fiction. Often, in attempting to chart new territories, researchers discover the extent of what remains unknown. Many of these papers, while reaching valid conclusions, also highlight the need for further research. The qualitative research journey is often characterised by “cycles of planning, acting, observing and reflecting” (Hearn et. al. 5). Troublesome research journeys are cyclic rather than linear. When researchers actively leave the path, and enter the woods, they realise that, while they are progressing forward, it is not always in a straight line. These papers have reached an end of one journey, yet signal multiple pathways for the next troubling encounter. Perhaps asking for trouble just leads to more questions. References Brady, Catherine. Logic and the Craft of Fiction. UK: Palgrave Macmillian, 2010. Comscore. GSMA Mobile Media Metrics Report Issued on UK Mobile Applications Usage. 2011. 22 Jun. 2011 ‹http://www.comscore.com/Press_Events/Press_Releases/2011/6/GSMA_Mobile_Media_Metrics_Report_Issued_on_UK_Mobile_Applications_Usage›. Denzin, Norman K., and Yvonna Lincoln. “The Discipline and Practice of Qualitative Research.” The SAGE Handbook of Qualitative Inquiry. Eds. Norman Denzin and Yvonna Lincoln. London: Sage, 2005. 1-32. Hardy, Barbara. “Towards a Poetics of Fiction.” Novel: A Forum on Fiction 2.1 (1986). 25 Jun. 2011 ‹http://www.jstor.org/stable/1344792›. Hearn, Greg, Jo Tacchi, Marcus Foth, and June Lennie. Action Research and New Media. Cresskill: Hampton Press, 2009. “Neuroses.” Dictionary.com. 2011. 25 Jun. 2011 ‹http://dictionary.reference.com/browse/neuroses›.

IntroductionIn his now-seminal book, Pilgrim in the Microworld (1983), David Sudnow details his process of learning to play the game Breakout on the Atari 2600. Sudnow develops an account of his graduation from a novice (having never played a videogame prior, and middle-aged at time of writing) to being able to fluidly perform the various configurative processes involved in an acclimated Breakout player’s repertoire.Sudnow’s account of videogame skill-development is not at odds with common-sense views on the matter: people become competent at videogames by playing them—we get used to how controllers work and feel, and to the timings of the game and those required of our bodies, through exposure. We learn by playing, failing, repeating, and ultimately internalising the game’s rhythms—allowing us to perform requisite actions. While he does not put it in as many words, Sudnow’s account affords parity to various human and nonhuman stakeholders involved in videogame-play: technical, temporal, and corporeal. Essentially, his point is that intertwined technical systems like software and human-interface devices—with their respective temporal rhythms, which coalesce and conflict with those of the human player—require management to play skilfully.The perspective Sudnow develops here is no doubt important, but modes of building competency cannot be strictly fixed around a player-videogame relationship; a relatively noncontroversial view in game studies. Videogame scholars have shown that there is currency in understanding how competencies in gameplay arise from engaging with ancillary objects beyond the thresholds of player-game relations; the literature to date casting a long shadow across a broad spectrum of materials and practices. Pursuing this thread, this article addresses the enterprise (and conceptualisation) of ‘skill building’ in videogames (taken as the ability to ‘beat games’ or cultivate the various competencies to do so) via the invocation of peripheral objects or practices. More precisely, this article develops the perspective that we need to attend to the impacts of ancillary objects on play—positioned as hybrid assemblage, as described in the work of writers like Sudnow. In doing so, I first survey how the intervention of peripheral game material has been researched and theorised in game studies, suggesting that many accounts deal too simply with how players build skill through these means—eliding the fact that play works as an engine of many moving parts. We do not simply become ‘better’ at videogames by engaging peripheral material. Furthering this view, I visit recent literature broadly associated with disciplines like post-phenomenology, which handles the hybridity of play and its extension across bodies, game systems, and other gaming material—attending to how skill building occurs; that is, through the recalibration of perceptual faculties operating in the bodily and temporal dimensions of videogame play. We become ‘better’ at videogames by drawing on peripheral gaming material to augment how we negotiate the rhythms of play.Following on from this, I conclude by mobilising post-phenomenological thinking to further consider skill-building through peripheral material, showing how such approaches can generate insights into important and emerging areas of this practice. Following recent games research, such as the work of James Ash, I adopt Bernard Stiegler’s formulation of technicity—pointing toward the conditioning of play through ancillary gaming objects: focusing particularly on the relationship between game skill, game guides, and embodied processes of memory and perception.In short, this article considers videogame skill-building, through means beyond the game, as a significant recalibration of embodied, temporal, and technical entanglements involved in play. Building Skill: From Guides to BodiesThere is a handsome literature that has sought to conceptualise the influence of ancillary game material, which can be traced to earlier theories of media convergence (Jenkins). More incisive accounts (pointing directly at game-skill) have been developed since, through theoretical rubrics such as paratext and metagaming. A point of congruence is the theme of relation: the idea that the locus of understanding and meaning can be specified through things outside the game. For scholars like Mia Consalvo (who popularised the notion of paratext in game studies), paratexts are a central motor in play. As Consalvo suggests, paratexts are quite often primed to condition how we do things in and around videogames; there is a great instructive potential in material like walkthrough guides, gaming magazines and cheating devices. Subsequent work has since made productive use of the concept to investigate game-skill and peripheral material and practice. Worth noting is Chris Paul’s research on World of Warcraft (WoW). Paul suggests that players disseminate high-level strategies through a practice known as ‘Theorycraft’ in the game’s community: one involving the use of paratextual statistics applications to optimise play—the results then disseminated across Web-forums (see also: Nardi).Metagaming (Salen and Zimmerman 482) is another concept that is often used to position the various extrinsic objects or practices installed in play—a concept deployed by scholars to conceptualise skill building through both games and the things at their thresholds (Donaldson). Moreover, the ability to negotiate out-of-game material has been positioned as a form of skill in its own right (see also: Donaldson). Becoming familiar with paratextual resources and being able to parse this information could then constitute skill-building. Ancillary gaming objects are important, and as some have argued, central in gaming culture (Consalvo). However, critical areas are left unexamined with respect to skill-building, because scholars often fail to place paratexts or metagaming in the contexts in which they operate; that is, amongst the complex technical, embodied and temporal conjunctures of play—such as those described by Sudnow. Conceptually, much of what Sudnow says in Microworld undergirds the post-human, object-oriented, or post-phenomenological literature that has begun to populate game studies (and indeed media studies more broadly). This materially-inflected writing takes seriously the fact that technical objects (like videogames) and human subjects are caught up in the rhythms of each other; digital media exists “as a mode or cluster of operations in consort with matter”, as Anna Munster tells us (330).To return to videogames, Patrick Crogan and Helen Kennedy argue that gameplay is about a “technicity” between human and nonhuman things, irreducible to any sole actor. Play is a confluence of metastable forces and conditions, a network of distributed agencies (see also Taylor, Assemblage). Others like Brendan Keogh forward post-phenomenological approaches (operating under scholars like Don Ihde)—looking past the subject-centred nature of videogame research. Ultimately, these theorists situate play as an ‘exploded diagram’, challenging anthropocentric accounts.This position has proven productive in research on ‘skilled’ or ‘high-level’ play (fertile ground for considering competency-development). Emma Witkowski, T.L. Taylor (Raising), and Todd Harper have suggested that skilled play in games emerges from the management of complex embodied and technical rhythms (echoing the points raised prior by Sudnow).Placing Paratexts in PlayWhile we have these varying accounts of how skill develops within and beyond player-game relationships, these two perspectives are rarely consolidated. That said, I address some of the limited body of work that has sought to place the paratext in the complex and distributed conjunctures of play; building a vocabulary and framework via encounters with what could loosely be called post-phenomenological thinking (not dissimilar to the just surveyed accounts). The strength of this work lies in its development of a more precise view of the operational reality of playing ‘with’ paratexts. The recent work of Darshana Jayemanne, Bjorn Nansen, and Thomas Apperley theorises the outward expansion of games and play, into diverse material, social, and spatial dimensions (147), as an ‘aesthetics of recruitment’. Consideration is given to ‘paratextual’ play and skill. For instance, they provide the example of players invoking the expertise they have witnessed broadcast through Websites like Twitch.tv or YouTube—skill-building operating here across various fronts, and through various modalities (155). Players are ‘recruited’, in different capacities, through expanded interfaces, which ultimately contour phenomenological encounters with games.Ash provides a fine-grained account in research on spatiotemporal perception and videogames—one much more focused on game-skill. Ash examines how high-level communities of players cultivate ‘spatiotemporal sensitivity’ in the game Street Fighter IV through—in Stiegler’s terms—‘exteriorising’ (Fault) game information into various data sets—producing what he calls ‘technicity’. In this way, Ash suggests that these paratextual materials don’t merely ‘influence play’ (Technology 200), but rather direct how players perceive time, and habituate exteriorised temporal rhythms into their embodied facility (a translation of high-level play). By doing so, the game can be played more proficiently. Following the broadly post-phenomenological direction of these works, I develop a brief account of two paratextual practices. Like Ash, I deploy the work of Stiegler (drawing also on Ash’s usage). I utilise Stiegler’s theoretical schema of technicity to roughly sketch how some other areas of skill-building via peripheral material can be placed within the context of play—looking particularly at the conditioning of embodied faculties of player anticipation, memory and perception through play and paratext alike. A Technicity of ParatextThe general premise of Stiegler’s technicity is that the human cannot be thought of independent from their technical supplements—that is, ‘exterior’ technical objects which could include, but are not limited to, technologies (Fault). Stiegler argues that the human, and their fundamental memory structure is finite, and as such is reliant on technical prostheses, which register and transmit experience (Fault 17). This technical supplement is what Stiegler terms ‘tertiary retention’. In short, for Stiegler, technicity can be understood as the interweaving of ‘lived’ consciousness (Cinematic 21) with tertiary retentional apparatus—which is palpably felt in our orientations in and toward time (Fault) and space (including the ‘space’ of our bodies, see New Critique 11).To be more precise, tertiary retention conditions the relationship between perception, anticipation, and subjective memory (or what Stiegler—by way of phenomenologist Edmund Husserl, whose work he renovates—calls primary retention, protention, and secondary retention respectively). As Ash demonstrates (Technology), Stiegler’s framework is rich with potential in investigating the relationship between videogames and their peripheral materials. Invoking technicity, we can rethink—and expand on—commonly encountered forms of paratexts, such as game guides or walkthroughs (an example Consalvo gives in Cheating). Stiegler’s framework provides a means to assess the technical organisation (through both games and paratexts) of embodied and temporal conditions of ‘skilled play’. Following Stiegler, Consalvo’s example of a game guide is a kind of ‘exteriorisation of play’ (to the guide) that adjusts the embodied and temporal conditions of anticipation and memory (which Sudnow would tell us are key in skill-development). To work through an example, if I was playing a hard game (such as Dark Souls [From Software]), the general idea is that I would be playing from memories of the just experienced, and with expectations of what’s to come based on everything that’s happened prior (following Stiegler). There is a technicity in the game’s design here, as Ash would tell us (Technology 190-91). By way of Stiegler (and his reading of Heidegger), Ash argues a popular trend in game design is to force a technologically-mediated interplay between memory, anticipation, and perception by making videogames ‘about’ a “a future outside of present experience” (Technology 191), but hinging this on past-memory. Players then, to be ‘skilful’, and move forward through the game environment without dying, need to manage cognitive and somatic memory (which, in Dark Souls, is conventionally accrued through trial-and-error play; learning through error incentivised through punitive game mechanics, such as item-loss). So, if I was playing against one of the game’s ‘bosses’ (powerful enemies), I would generally only be familiar with the way they manoeuvre, the speed with which they do so, and where and when to attack based on prior encounter. For instance, my past-experience (of having died numerous times) would generally inform me that using a two-handed sword allows me to get in two attacks on a boss before needing to retreat to avoid fatal damage. Following Stiegler, we can understand the inscription of videogame experience in objects like game guides as giving rise to anticipation and memory—albeit based on a “past that I have not lived but rather inherited as tertiary retentions” (Cinematic 60). Tertiary retentions trigger processes of selection in our anticipations, memories, and perceptions. Where videogame technologies are traditionally the tertiary retentions in play (Ash, Technologies), the use of game-guides refracts anticipation, memory, and perception through joint systems of tertiary retention—resulting in the outcome of more efficiently beating a game.To return to my previous example of navigating Dark Souls: where I might have died otherwise, via the guide, I’d be cognisant to the timings within which I can attack the boss without sustaining damage, and when to dodge its crushing blows—allowing me to eventually defeat it and move toward the stage’s end (prompting somatic and cognitive memory shifts, which influence my anticipation in-game). Through ‘neurological’ accounts of technology—such as Stiegler’s technicity—we can think more closely about how playing with a skill-building apparatus (like a game guide) works in practice; allowing us to identify how various situations ingame can be managed via deferring functions of the player (such as memory) to exteriorised objects—shifting conditions of skill building. The prism of technicity is also useful in conceptualising some of the new ways players are building skill beyond the game. In recent years, gaming paratexts have transformed in scope and scale. Gaming has shifted into an age of quantification—with analytics platforms which harvest, aggregate, and present player data gaining significant traction, particularly in competitive and multiplayer videogames. These platforms perform numerous operations that assist players in developing skill—and are marketed as tools for players to improve by reflecting on their own practices and the practices of others (functioning similarly to the previously noted practice of TheoryCraft, but operating at a wider scale). To focus on one example, the WarCraftLogs application in WoW (Image 1) is a highly-sophisticated form of videogame analytics; the perspective of technicity providing insights into its functionality as skill-building apparatus.Image 1: WarCraftLogs. Image credit: Ben Egliston. Following Ash’s use of Stiegler (Technology), quantifying the operations that go into playing WoW can be conceptualised as what Stiegler calls a system of traces (Technology 196). Because of his central thesis of ‘technical existence’, Stiegler maintains that ‘interiority’ is coincident with technical support. As such, there is no calculation, no mental phenomena, that does not arise from internal manipulation of exteriorised symbols (Cinematic 52-54). Following on with his discussion of videogames, Ash suggests that in the exteriorisation of gameplay there is “no opposition between gesture, calculation and the representation of symbols” (Technology 196); the symbols working as an ‘abbreviation’ of gameplay that can be read as such. Drawing influence from this view, I show that ‘Big Data’ analytics platforms like WarCraftLogs similarly allow users to ‘read’ play as a set of exteriorised symbols—with significant outcomes for skill-building; allowing users to exteriorise their own play, examine the exteriorised play of others, and compare exteriorisations of their own play with those of others. Image 2: WarCraftLogs Gameplay Breakdown. Image credit: Ben Egliston.Image 2 shows a screenshot of the WarCraftLogs interface. Here we can see the exteriorisation of gameplay, and how the platform breaks down player inputs and in-game occurrences (written and numeric, like Ash’s game data). The screenshot shows a ‘raid boss’ (where players team up to defeat powerful computer-controlled enemies)—atomising the sequence of inputs a player has made over the course of the encounter. This is an accurate ledger of play—a readout that can speak to mechanical performance (specific ingame events occurred at a specific time), as well as caching and providing parses of somatic inputs and execution (e.g. ability to trace the rates at which players expend in-game resources can provide insights into rapidity of button presses). If information falls outside what is presented, players can work with an Application Programming Interface to develop customised readouts (this is encouraged through other game-data platforms, like OpenDota in Dota 2). Through this system, players can exteriorise their own input and output or view the play of others—both useful in building skill. The first point here—of exteriorising one’s own experience—resonates with Stiegler’s renovation of Husserl's ‘temporal object’—that is, an object that exists in and is formed through time—through temporal fluxes of what appears, what happens and what manifests itself in disappearing (Cinematic 14). Stiegler suggests that tertiary retentional apparatus (e.g. a gramophone) allow us to re-experience a temporal object (e.g. a melody) which would otherwise not be possible due to the finitude of human memory.To elaborate, Stiegler argues that primary memories recede into secondary memory (which is selective reactivation of perception), but through technologies of recording, (such as game-data) we can re-experience these things verbatim. So ultimately, games analytics platforms—as exteriorised technologies of recording—facilitate this after-the-fact interplay between primary and secondary memory where players can ‘audit’ their past performance, reflecting on well-played encounters or revising error. These platforms allow the detailed examination of responses to game mechanics, and provide readouts of the technical and embodied rhythms of play (which can be incorporated into future play via reading the data). Beyond self-reflection, these platforms allow the examination of other’s play. The aggregation and sorting of game-data makes expertise both visible and legible. To elaborate, players are ranked on their performance based on all submitted log-data, offering a view of how expertise ‘works’.Image 3: Top-Ranking Players in WarCraftLogs. Image credit: Ben Egliston.Image 3 shows the top-ranked players on an encounter (the top 10 of over 100,000 logs), which means that these players have performed most competently out of all gameplay parses (the metric being most damage dealt per-second in defeating a boss). Users of the platform can look in detail at the actions performed by top players in that encounter—reading and mobilising data in a similar manner to game-guides; markedly different, however, in terms of the scope (i.e. there are many available logs to draw from) and richness of the data (more detailed and current—with log rankings recalibrated regularly). Conceptually, we can also draw parallels with previous work (see: Ash, Technology)—where the habituation of expert game data can produce new videogame technicities; ways of ‘experiencing’ play as ‘higher-level’ organisation of space and time (Ash, Technology). So, if a player wanted to ‘learn from the experts’ they would restructure their own rhythms of play around high-level logs which provide an ordered readout of various sequences of inputs involved in playing well. Moreover, the platform allows players to compare their logs to those of others—so these various introspective and outward-facing uses can work together, conditioning anticipations with inscriptions of past-play and ‘prosthetic’ memories through other’s log-data. In my experience as a WoW player, I often performed better (or built skill) by comparing and contrasting my own detailed readouts of play to the inputs and outputs of the best players in the world.To summarise, through technicity, I have briefly shown how exteriorising play shifts the conditions of skill-building from recalibrating msnesic and anticipatory processes through ‘firsthand’ play, to reworking these functions through engaging both games and extrinsic objects, like game guides and analytics platforms. Additionally, by reviewing and adopting various usages of technicity, I have pointed out how we might more holistically situate the gaming paratext in skill building. Conclusion There is little doubt—as exemplified through both scholarly and popular interest—that paratextual videogame material reframes modes of building game skill. Following recent work, and by providing a brief account of two paratextual practices (venturing the framework of technicity, via Stiegler and Ash—showing the complication of memory, perception, and anticipation in skill-building), I have contended that videogame-skill building—via paratextual material—can be rendered a process of operating outside of, but still caught up in, the complex assemblages of time, bodies, and technical architectures described by Sudnow at this article’s outset. Additionally, by reviewing and adopting ideas associated with technics and post-phenomenology, this article has aimed to contribute to the development of more ‘complete’ accounts of the processes and practices comprising skill building regimens of contemporary videogame players.References Ash, James. “Technology, Technicity and Emerging Practices of Temporal Sensitivity in Videogames.” Environment and Planning A 44.1 (2012): 187-201.———. “Technologies of Captivation: Videogames and the Attunement of Affect.” Body and Society 19.1 (2013): 27-51.Consalvo, Mia. Cheating: Gaining Advantage in Videogames. Cambridge: Massachusetts Institute of Technology P, 2007. Crogan, Patrick, and Helen Kennedy. “Technologies between Games and Culture.” Games and Culture 4.2 (2009): 107-14.Donaldson, Scott. “Mechanics and Metagame: Exploring Binary Expertise in League of Legends.” Games and Culture (2015). 4 Jun. 2015 <http://journals.sagepub.com/doi/abs/10.1177/1555412015590063>.From Software. Dark Souls. Playstation 3 Game. 2011.Harper, Todd. The Culture of Digital Fighting Games: Performance and Practice. New York: Routledge, 2014.Jayemanne, Darshana, Bjorn Nansen, and Thomas H. Apperley. “Postdigital Interfaces and the Aesthetics of Recruitment.” Transactions of the Digital Games Research Association 2.3 (2016): 145-72.Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: New York UP, 2006.Keogh, Brendan. “Across Worlds and Bodies.” Journal of Games Criticism 1.1 (2014). Jan. 2014 <http://gamescriticism.org/articles/keogh-1-1/>.Munster, Anna. “Materiality.” The Johns Hopkins Guide to Digital Media. Eds. Marie-Laure Ryan, Lori Emerson, and Benjamin J. Robertson. Baltimore: Johns Hopkins UP, 2014. 327-30. Nardi, Bonnie. My Life as Night Elf Priest: An Anthropological Account of World of Warcraft. Ann Arbor: Michigan UP, 2010. OpenDota. OpenDota. Web browser application. 2017.Paul, Christopher A. “Optimizing Play: How Theory Craft Changes Gameplay and Design.” Game Studies: The International Journal of Computer Game Research 11.2 (2011). May 2011 <http://gamestudies.org/1102/articles/paul>.Salen, Katie, and Eric Zimmerman. Rules of Play: Game Design Fundamentals. Cambridge: Massachusetts Institute of Technology P, 2004.Stiegler, Bernard. Technics and Time, 1: The Fault of Epimetheus. Stanford: Stanford UP, 1998.———. For a New Critique of Political Economy. Cambridge: Polity, 2010.———. Technics and Time, 3: Cinematic Time and the Question of Malaise. Stanford: Stanford UP, 2011.Sudnow, David. Pilgrim in the Microworld. New York: Warner Books, 1983.Taylor, T.L. “The Assemblage of Play.” Games and Culture 4.4 (2009): 331-39.———. Raising the Stakes: E-Sports and the Professionalization of Computer Gaming. Cambridge: Massachusetts Institute of Technology P, 2012.WarCraftLogs. WarCraftLogs. 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From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elephants have a learnt culture, then it is possible to extend a definition of printing beyond Homo sapiens. Poole reports that elephants mechanically trumpet reproductions of human car horns into the air surrounding their society. If nothing else, this cross-species, cross-cultural reproduction, this ‘ability to mimic’ is ‘another sign of their intelligence’. Observation of child development suggests that the first significant meaningful ‘impression’ made on the human mind is that of the face of the child’s nurturer – usually its mother. The baby’s mind forms an ‘impression’, a mental print, a reproducible memory data set, of the nurturer’s face, voice, smell, touch, etc. That face is itself a cultural construct: hair style, makeup, piercings, tattoos, ornaments, nutrition-influenced skin and smell, perfume, temperature and voice. A mentally reproducible pattern of a unique face is formed in the mind, and we use that pattern to distinguish ‘familiar and strange’ in our expanding social orbit. The social relations of patterned memory – of imprinting – determine the extent to which we explore our world (armed with research aids such as text print) or whether we turn to violence or self-harm (Bretherton). While our cultural artifacts (such as vellum maps or networked voice message servers) bravely extend our significant patterns into the social world and the traversed environment, it is useful to remember that such artifacts, including print, are themselves understood by our original pattern-reproduction and impression system – the human mind, developed in childhood. The ‘print’ is brought to mind differently in different discourses. For a reader, a ‘print’ is a book, a memo or a broadsheet, whether it is the Indian Buddhist Sanskrit texts ordered to be printed in 593 AD by the Chinese emperor Sui Wen-ti (Silk Road) or the US Defense Department memo authorizing lower ranks to torture the prisoners taken by the Bush administration (Sanchez, cited in ABC). Other fields see prints differently. For a musician, a ‘print’ may be the sheet music which spread classical and popular music around the world; it may be a ‘record’ (as in a ‘recording’ session), where sound is impressed to wax, vinyl, charged silicon particles, or the alloys (Smith, “Elpida”) of an mp3 file. For the fine artist, a ‘print’ may be any mechanically reproduced two-dimensional (or embossed) impression of a significant image in media from paper to metal, textile to ceramics. ‘Print’ embraces the Japanese Ukiyo-e colour prints of Utamaro, the company logos that wink from credit card holographs, the early photographs of Talbot, and the textured patterns printed into neolithic ceramics. Computer hardware engineers print computational circuits. Homicide detectives investigate both sweaty finger prints and the repeated, mechanical gaits of suspects, which are imprinted into the earthy medium of a crime scene. For film makers, the ‘print’ may refer to a photochemical polyester reproduction of a motion picture artifact (the reel of ‘celluloid’), or a DVD laser disc impression of the same film. Textualist discourse has borrowed the word ‘print’ to mean ‘text’, so ‘print’ may also refer to the text elements within the vision track of a motion picture: the film’s opening titles, or texts photographed inside the motion picture story such as the sword-cut ‘Z’ in Zorro (Niblo). Before the invention of writing, the main mechanically reproduced impression of a cultural symbol in a medium was the humble footprint in the sand. The footprints of tribes – and neighbouring animals – cut tracks in the vegetation and the soil. Printed tracks led towards food, water, shelter, enemies and friends. Having learnt to pattern certain faces into their mental world, children grew older and were educated in the footprints of family and clan, enemies and food. The continuous impression of significant foot traffic in the medium of the earth produced the lines between significant nodes of prewriting and pre-wheeled cultures. These tracks were married to audio tracks, such as the song lines of the Australian Aborigines, or the ballads of tramping culture everywhere. A typical tramping song has the line, ‘There’s a track winding back to an old-fashion shack along the road to Gundagai,’ (O’Hagan), although this colonial-style song was actually written for radio and became an international hit on the airwaves, rather than the tramping trails. The printed tracks impressed by these cultural flows are highly contested and diverse, and their foot prints are woven into our very language. The names for printed tracks have entered our shared memory from the intersection of many cultures: ‘Track’ is a Germanic word entering English usage comparatively late (1470) and now used mainly in audio visual cultural reproduction, as in ‘soundtrack’. ‘Trek’ is a Dutch word for ‘track’ now used mainly by ecotourists and science fiction fans. ‘Learn’ is a Proto-Indo-European word: the verb ‘learn’ originally meant ‘to find a track’ back in the days when ‘learn’ had a noun form which meant ‘the sole of the foot’. ‘Tract’ and ‘trace’ are Latin words entering English print usage before 1374 and now used mainly in religious, and electronic surveillance, cultural reproduction. ‘Trench’ in 1386 was a French path cut through a forest. ‘Sagacity’ in English print in 1548 was originally the ability to track or hunt, in Proto-Indo-European cultures. ‘Career’ (in English before 1534) was the print made by chariots in ancient Rome. ‘Sleuth’ (1200) was a Norse noun for a track. ‘Investigation’ (1436) was Latin for studying a footprint (Harper). The arrival of symbolic writing scratched on caves, hearth stones, and trees (the original meaning of ‘book’ is tree), brought extremely limited text education close to home. Then, with baked clay tablets, incised boards, slate, bamboo, tortoise shell, cast metal, bark cloth, textiles, vellum, and – later – paper, a portability came to text that allowed any culture to venture away from known ‘foot’ paths with a reduction in the risk of becoming lost and perishing. So began the world of maps, memos, bills of sale, philosophic treatises and epic mythologies. Some of this was printed, such as the mechanical reproduction of coins, but the fine handwriting required of long, extended, portable texts could not be printed until the invention of paper in China about 2000 years ago. Compared to lithic architecture and genes, portable text is a fragile medium, and little survives from the millennia of its innovators. The printing of large non-text designs onto bark-paper and textiles began in neolithic times, but Sui Wen-ti’s imperial memo of 593 AD gives us the earliest written date for printed books, although we can assume they had been published for many years previously. The printed book was a combination of Indian philosophic thought, wood carving, ink chemistry and Chinese paper. The earliest surviving fragment of paper-print technology is ‘Mantras of the Dharani Sutra’, a Buddhist scripture written in the Sanskrit language of the Indian subcontinent, unearthed at an early Tang Dynasty site in Xian, China – making the fragment a veteran piece of printing, in the sense that Sanskrit books had been in print for at least a century by the early Tang Dynasty (Chinese Graphic Arts Net). At first, paper books were printed with page-size carved wooden boards. Five hundred years later, Pi Sheng (c.1041) baked individual reusable ceramic characters in a fire and invented the durable moveable type of modern printing (Silk Road 2000). Abandoning carved wooden tablets, the ‘digitizing’ of Chinese moveable type sped up the production of printed texts. In turn, Pi Sheng’s flexible, rapid, sustainable printing process expanded the political-cultural impact of the literati in Asian society. Digitized block text on paper produced a bureaucratic, literate elite so powerful in Asia that Louis XVI of France copied China’s print-based Confucian system of political authority for his own empire, and so began the rise of the examined public university systems, and the civil service systems, of most European states (Watson, Visions). By reason of its durability, its rapid mechanical reproduction, its culturally agreed signs, literate readership, revered authorship, shared ideology, and distributed portability, a ‘print’ can be a powerful cultural network which builds and expands empires. But print also attacks and destroys empires. A case in point is the Spanish conquest of Aztec America: The Aztecs had immense libraries of American literature on bark-cloth scrolls, a technology which predated paper. These libraries were wiped out by the invading Spanish, who carried a different book before them (Ewins). In the industrial age, the printing press and the gun were seen as the weapons of rebellions everywhere. In 1776, American rebels staffed their ‘Homeland Security’ units with paper makers, knowing that defeating the English would be based on printed and written documents (Hahn). Mao Zedong was a book librarian; Mao said political power came out of the barrel of a gun, but Mao himself came out of a library. With the spread of wireless networked servers, political ferment comes out of the barrel of the cell phone and the internet chat room these days. Witness the cell phone displays of a plane hitting a tower that appear immediately after 9/11 in the Middle East, or witness the show trials of a few US and UK lower ranks who published prints of their torturing activities onto the internet: only lower ranks who published prints were arrested or tried. The control of secure servers and satellites is the new press. These days, we live in a global library of burning books – ‘burning’ in the sense that ‘print’ is now a charged silicon medium (Smith, “Intel”) which is usually made readable by connecting the chip to nuclear reactors and petrochemically-fired power stations. World resources burn as we read our screens. Men, women, children burn too, as we watch our infotainment news in comfort while ‘their’ flickering dead faces are printed in our broadcast hearths. The print we watch is not the living; it is the voodoo of the living in the blackout behind the camera, engaging the blood sacrifice of the tormented and the unfortunate. Internet texts are also ‘on fire’ in the third sense of their fragility and instability as a medium: data bases regularly ‘print’ fail-safe copies in an attempt to postpone the inevitable mechanical, chemical and electrical failure that awaits all electronic media in time. Print defines a moral position for everyone. In reporting conflict, in deciding to go to press or censor, any ‘print’ cannot avoid an ethical context, starting with the fact that there is a difference in power between print maker, armed perpetrators, the weak, the peaceful, the publisher, and the viewer. So many human factors attend a text, video or voice ‘print’: its very existence as an aesthetic object, even before publication and reception, speaks of unbalanced, and therefore dynamic, power relationships. For example, Graham Greene departed unscathed from all the highly dangerous battlefields he entered as a novelist: Riot-torn Germany, London Blitz, Belgian Congo, Voodoo Haiti, Vietnam, Panama, Reagan’s Washington, and mafia Europe. His texts are peopled with the injustices of the less fortunate of the twentieth century, while he himself was a member of the fortunate (if not happy) elite, as is anyone today who has the luxury of time to read Greene’s works for pleasure. Ethically a member of London and Paris’ colonizers, Greene’s best writing still electrifies, perhaps partly because he was in the same line of fire as the victims he shared bread with. In fact, Greene hoped daily that he would escape from the dreadful conflicts he fictionalized via a body bag or an urn of ashes (see Sherry). In reading an author’s biography we have one window on the ethical dimensions of authority and print. If a print’s aesthetics are sometimes enduring, its ethical relationships are always mutable. Take the stylized logo of a running athlete: four limbs bent in a rotation of action. This dynamic icon has symbolized ‘good health’ in Hindu and Buddhist culture, from Madras to Tokyo, for thousands of years. The cross of bent limbs was borrowed for the militarized health programs of 1930s Germany, and, because of what was only a brief, recent, isolated yet monstrously horrific segment of its history in print, the bent-limbed swastika is now a vilified symbol in the West. The sign remains ‘impressed’ differently on traditional Eastern culture, and without the taint of Nazism. Dramatic prints are emotionally charged because, in depicting Homo sapiens in danger, or passionately in love, they elicit a hormonal reaction from the reader, the viewer, or the audience. The type of emotions triggered by a print vary across the whole gamut of human chemistry. A recent study of three genres of motion picture prints shows a marked differences in the hormonal responses of men compared to women when viewing a romance, an actioner, and a documentary (see Schultheiss, Wirth, and Stanton). Society is biochemically diverse in its engagement with printed culture, which raises questions about equality in the arts. Motion picture prints probably comprise around one third of internet traffic, in the form of stolen digitized movie files pirated across the globe via peer-to-peer file transfer networks (p2p), and burnt as DVD laser prints (BBC). There is also a US 40 billion dollar per annum legitimate commerce in DVD laser pressings (Grassl), which would suggest an US 80 billion per annum world total in legitimate laser disc print culture. The actively screen literate, or the ‘sliterati’ as I prefer to call them, research this world of motion picture prints via their peers, their internet information channels, their television programming, and their web forums. Most of this activity occurs outside the ambit of universities and schools. One large site of sliterate (screen literate) practice outside most schooling and official research is the net of online forums at imdb.com (International Movie Data Base). Imdb.com ‘prints’ about 25,000,000 top pages per month to client browsers. Hundreds of sliterati forums are located at imdb, including a forum for the Australian movie, Muriel’s Wedding (Hogan). Ten years after the release of Muriel’s Wedding, young people who are concerned with victimization and bullying still log on to http://us.imdb.com/title/tt0110598/board/> and put their thoughts into print: I still feel so bad for Muriel in the beginning of the movie, when the girls ‘dump’ her, and how much the poor girl cried and cried! Those girls were such biartches…I love how they got their comeuppance! bunniesormaybemidgets’s comment is typical of the current discussion. Muriel’s Wedding was a very popular film in its first cinema edition in Australia and elsewhere. About 30% of the entire over-14 Australian population went to see this photochemical polyester print in the cinemas on its first release. A decade on, the distributors printed a DVD laser disc edition. The story concerns Muriel (played by Toni Collette), the unemployed daughter of a corrupt, ‘police state’ politician. Muriel is bullied by her peers and she withdraws into a fantasy world, deluding herself that a white wedding will rescue her from the torments of her blighted life. Through theft and deceit (the modus operandi of her father) Muriel escapes to the entertainment industry and finds a ‘wicked’ girlfriend mentor. From a rebellious position of stubborn independence, Muriel plays out her fantasy. She gets her white wedding, before seeing both her father and her new married life as hollow shams which have goaded her abandoned mother to suicide. Redefining her life as a ‘game’ and assuming responsibility for her independence, Muriel turns her back on the mainstream, image-conscious, female gang of her oppressed youth. Muriel leaves the story, having rekindled her friendship with her rebel mentor. My methodological approach to viewing the laser disc print was to first make a more accessible, coded record of the entire movie. I was able to code and record the print in real time, using a new metalanguage (Watson, “Eyes”). The advantage of Coding is that ‘thinks’ the same way as film making, it does not sidetrack the analyst into prose. The Code splits the movie print into Vision Action [vision graphic elements, including text] (sound) The Coding splits the vision track into normal action and graphic elements, such as text, so this Coding is an ideal method for extracting all the text elements of a film in real time. After playing the film once, I had four and a half tightly packed pages of the coded story, including all its text elements in square brackets. Being a unique, indexed hard copy, the Coded copy allowed me immediate access to any point of the Muriel’s Wedding saga without having to search the DVD laser print. How are ‘print’ elements used in Muriel’s Wedding? Firstly, a rose-coloured monoprint of Muriel Heslop’s smiling face stares enigmatically from the plastic surface of the DVD picture disc. The print is a still photo captured from her smile as she walked down the aisle of her white wedding. In this print, Toni Collette is the Mona Lisa of Australian culture, except that fans of Muriel’s Wedding know the meaning of that smile is a magical combination of the actor’s art: the smile is both the flush of dreams come true and the frightening self deception that will kill her mother. Inserting and playing the disc, the text-dominant menu appears, and the film commences with the text-dominant opening titles. Text and titles confer a legitimacy on a work, whether it is a trade mark of the laser print owners, or the household names of stars. Text titles confer status relationships on both the presenters of the cultural artifact and the viewer who has entered into a legal license agreement with the owners of the movie. A title makes us comfortable, because the mind always seeks to name the unfamiliar, and a set of text titles does that job for us so that we can navigate the ‘tracks’ and settle into our engagement with the unfamiliar. The apparent ‘truth’ and ‘stability’ of printed text calms our fears and beguiles our uncertainties. Muriel attends the white wedding of a school bully bride, wearing a leopard print dress she has stolen. Muriel’s spotted wild animal print contrasts with the pure white handmade dress of the bride. In Muriel’s leopard textile print, we have the wild, rebellious, impoverished, inappropriate intrusion into the social ritual and fantasy of her high-status tormentor. An off-duty store detective recognizes the printed dress and calls the police. The police are themselves distinguished by their blue-and-white checked prints and other mechanically reproduced impressions of cultural symbols: in steel, brass, embroidery, leather and plastics. Muriel is driven in the police car past the stenciled town sign (‘Welcome To Porpoise Spit’ heads a paragraph of small print). She is delivered to her father, a politician who presides over the policing of his town. In a state where the judiciary, police and executive are hijacked by the same tyrant, Muriel’s father, Bill, pays off the police constables with a carton of legal drugs (beer) and Muriel must face her father’s wrath, which he proceeds to transfer to his detested wife. Like his daughter, the father also wears a spotted brown print costume, but his is a batik print from neighbouring Indonesia (incidentally, in a nation that takes the political status of its batik prints very seriously). Bill demands that Muriel find the receipt for the leopard print dress she claims she has purchased. The legitimate ownership of the object is enmeshed with a printed receipt, the printed evidence of trade. The law (and the paramilitary power behind the law) are legitimized, or contested, by the presence or absence of printed text. Muriel hides in her bedroom, surround by poster prints of the pop group ABBA. Torn-out prints of other people’s weddings adorn her mirror. Her face is embossed with the clown-like primary colours of the marionette as she lifts a bouquet to her chin and stares into the real time ‘print’ of her mirror image. Bill takes the opportunity of a business meeting with Japanese investors to feed his entire family at ‘Charlie Chan’’s restaurant. Muriel’s middle sister sloppily wears her father’s state election tee shirt, printed with the text: ‘Vote 1, Bill Heslop. You can’t stop progress.’ The text sets up two ironic gags that are paid off on the dialogue track: “He lost,’ we are told. ‘Progress’ turns out to be funding the concreting of a beach. Bill berates his daughter Muriel: she has no chance of becoming a printer’s apprentice and she has failed a typing course. Her dysfunction in printed text has been covered up by Bill: he has bribed the typing teacher to issue a printed diploma to his daughter. In the gambling saloon of the club, under the arrays of mechanically repeated cultural symbols lit above the poker machines (‘A’ for ace, ‘Q’ for queen, etc.), Bill’s secret girlfriend Diedre risks giving Muriel a cosmetics job. Another text icon in lights announces the surf nightclub ‘Breakers’. Tania, the newly married queen bitch who has made Muriel’s teenage years a living hell, breaks up with her husband, deciding to cash in his negotiable text documents – his Bali honeymoon tickets – and go on an island holiday with her girlfriends instead. Text documents are the enduring site of agreements between people and also the site of mutations to those agreements. Tania dumps Muriel, who sobs and sobs. Sobs are a mechanical, percussive reproduction impressed on the sound track. Returning home, we discover that Muriel’s older brother has failed a printed test and been rejected for police recruitment. There is a high incidence of print illiteracy in the Heslop family. Mrs Heslop (Jeannie Drynan), for instance, regularly has trouble at the post office. Muriel sees a chance to escape the oppression of her family by tricking her mother into giving her a blank cheque. Here is the confluence of the legitimacy of a bank’s printed negotiable document with the risk and freedom of a blank space for rebel Muriel’s handwriting. Unable to type, her handwriting has the power to steal every cent of her father’s savings. She leaves home and spends the family’s savings at an island resort. On the island, the text print-challenged Muriel dances to a recording (sound print) of ABBA, her hand gestures emphasizing her bewigged face, which is made up in an impression of her pop idol. Her imitation of her goddesses – the ABBA women, her only hope in a real world of people who hate or avoid her – is accompanied by her goddesses’ voices singing: ‘the mystery book on the shelf is always repeating itself.’ Before jpeg and gif image downloads, we had postcard prints and snail mail. Muriel sends a postcard to her family, lying about her ‘success’ in the cosmetics business. The printed missal is clutched by her father Bill (Bill Hunter), who proclaims about his daughter, ‘you can’t type but you really impress me’. Meanwhile, on Hibiscus Island, Muriel lies under a moonlit palm tree with her newly found mentor, ‘bad girl’ Ronda (Rachel Griffiths). In this critical scene, where foolish Muriel opens her heart’s yearnings to a confidante she can finally trust, the director and DP have chosen to shoot a flat, high contrast blue filtered image. The visual result is very much like the semiabstract Japanese Ukiyo-e woodblock prints by Utamaro. This Japanese printing style informed the rise of European modern painting (Monet, Van Gogh, Picasso, etc., were all important collectors and students of Ukiyo-e prints). The above print and text elements in Muriel’s Wedding take us 27 minutes into her story, as recorded on a single page of real-time handwritten Coding. Although not discussed here, the Coding recorded the complete film – a total of 106 minutes of text elements and main graphic elements – as four pages of Code. Referring to this Coding some weeks after it was made, I looked up the final code on page four: taxi [food of the sea] bq. Translation: a shop sign whizzes past in the film’s background, as Muriel and Ronda leave Porpoise Spit in a taxi. Over their heads the text ‘Food Of The Sea’ flashes. We are reminded that Muriel and Ronda are mermaids, fantastic creatures sprung from the brow of author PJ Hogan, and illuminated even today in the pantheon of women’s coming-of-age art works. That the movie is relevant ten years on is evidenced by the current usage of the Muriel’s Wedding online forum, an intersection of wider discussions by sliterate women on imdb.com who, like Muriel, are observers (and in some cases victims) of horrific pressure from ambitious female gangs and bullies. Text is always a minor element in a motion picture (unless it is a subtitled foreign film) and text usually whizzes by subliminally while viewing a film. By Coding the work for [text], all the text nuances made by the film makers come to light. While I have viewed Muriel’s Wedding on many occasions, it has only been in Coding it specifically for text that I have noticed that Muriel is a representative of that vast class of talented youth who are discriminated against by print (as in text) educators who cannot offer her a life-affirming identity in the English classroom. Severely depressed at school, and failing to type or get a printer’s apprenticeship, Muriel finds paid work (and hence, freedom, life, identity, independence) working in her audio visual printed medium of choice: a video store in a new city. Muriel found a sliterate admirer at the video store but she later dumped him for her fantasy man, before leaving him too. One of the points of conjecture on the imdb Muriel’s Wedding site is, did Muriel (in the unwritten future) get back together with admirer Brice Nobes? That we will never know. While a print forms a track that tells us where culture has been, a print cannot be the future, a print is never animate reality. At the end of any trail of prints, one must lift one’s head from the last impression, and negotiate satisfaction in the happening world. References Australian Broadcasting Corporation. “Memo Shows US General Approved Interrogations.” 30 Mar. 2005 http://www.abc.net.au>. British Broadcasting Commission. “Films ‘Fuel Online File-Sharing’.’’ 22 Feb. 2005 http://news.bbc.co.uk/1/hi/technology/3890527.stm>. Bretherton, I. “The Origins of Attachment Theory: John Bowlby and Mary Ainsworth.” 1994. 23 Jan. 2005 http://www.psy.med.br/livros/autores/bowlby/bowlby.pdf>. Bunniesormaybemidgets. Chat Room Comment. “What Did Those Girls Do to Rhonda?” 28 Mar. 2005 http://us.imdb.com/title/tt0110598/board/>. Chinese Graphic Arts Net. Mantras of the Dharani Sutra. 20 Feb. 2005 http://www.cgan.com/english/english/cpg/engcp10.htm>. Ewins, R. Barkcloth and the Origins of Paper. 1991. 20 Feb. 2005 http://www.justpacific.com/pacific/papers/barkcloth~paper.html>. Grassl K.R. The DVD Statistical Report. 14 Mar. 2005 http://www.corbell.com>. Hahn, C. M. The Topic Is Paper. 20 Feb. 2005 http://www.nystamp.org/Topic_is_paper.html>. Harper, D. Online Etymology Dictionary. 14 Mar. 2005 http://www.etymonline.com/>. Mask of Zorro, The. Screenplay by J McCulley. UA, 1920. Muriel’s Wedding. Dir. PJ Hogan. Perf. Toni Collette, Rachel Griffiths, Bill Hunter, and Jeannie Drynan. Village Roadshow, 1994. O’Hagan, Jack. On The Road to Gundagai. 1922. 2 Apr. 2005 http://ingeb.org/songs/roadtogu.html>. Poole, J.H., P.L. Tyack, A.S. Stoeger-Horwath, and S. Watwood. “Animal Behaviour: Elephants Are Capable of Vocal Learning.” Nature 24 Mar. 2005. Sanchez, R. “Interrogation and Counter-Resistance Policy.” 14 Sept. 2003. 30 Mar. 2005 http://www.abc.net.au>. Schultheiss, O.C., M.M. Wirth, and S.J. Stanton. “Effects of Affiliation and Power Motivation Arousal on Salivary Progesterone and Testosterone.” Hormones and Behavior 46 (2005). Sherry, N. The Life of Graham Greene. 3 vols. London: Jonathan Cape 2004, 1994, 1989. Silk Road. Printing. 2000. 20 Feb. 2005 http://www.silk-road.com/artl/printing.shtml>. Smith, T. “Elpida Licenses ‘DVD on a Chip’ Memory Tech.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. —. “Intel Boffins Build First Continuous Beam Silicon Laser.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. Watson, R. S. “Eyes And Ears: Dramatic Memory Slicing and Salable Media Content.” Innovation and Speculation, ed. Brad Haseman. Brisbane: QUT. [in press] Watson, R. S. Visions. Melbourne: Curriculum Corporation, 1994. Citation reference for this article MLA Style Watson, Robert. "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/08-watson.php>. APA Style Watson, R. (Jun. 2005) "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/08-watson.php>.

Introduction Darkness is often characterised as something that warrants heightened caution and scrutiny – signifying increased danger and risk. Within settler-colonial settings such as Australia, cautionary and negative connotations of darkness are projected upon Black people and their bodies, forming part of continuing colonial regimes of power (Moreton-Robinson). Negative stereotypes of “dark” continues to racialise all Indigenous peoples. In Australia, Indigenous peoples are both Indigenous and Black regardless of skin colour, and this plays out in a range of ways, some of which will be highlighted within this article. This article demonstrates that for Indigenous peoples, associations of fear and danger are built into the structural mechanisms that shape and maintain colonial understandings of Indigenous peoples and their bodies. It is this embodied form of darkness, and its negative connotations, and responses that we explore further. Figure 1: Megan Cope’s ‘I’m not afraid of the Dark’ t-shirt (Fredericks and Heemsbergen 2021) Responding to the anxieties and fears of settlers that often surround Indigenous peoples, Quandamooka artist and member of the art collective ProppaNow, Megan Cope, has produced a range of t-shirts, one of which declares “I’m not afraid of the Dark” (fig. 1). The wording ‘reflects White Australia’s fear of blackness’ (Dark + Dangerous). Exploring race relations through the theme of “darkness”, we begin by discussing how negative connotations of darkness are represented through everyday lexicons and how efforts to shift prejudicial and racist language are often met with defensiveness and resistance. We then consider how fears towards the dark translate into everyday practices, reinforced by media representations. The article considers how stereotype, conjecture, and prejudice is inflicted upon Indigenous people and reflects white settler fears and anxieties, rooting colonialism in everyday language, action, and norms. The Language of Fear Indigenous people and others with dark skin tones are often presented as having a proclivity towards threatening, aggressive, deceitful, and negative behaviours. This works to inform how Indigenous peoples are “known” and responded to by hegemonic (predominantly white) populations. Negative connotations of Indigenous people are a means of reinforcing and legitimising the falsity that European knowledge systems, norms, and social structures are superior whilst denying the contextual colonial circumstances that have led to white dominance. In Australia, such denial corresponds to the refusal to engage with the unceded sovereignty of Aboriginal peoples or acknowledge Indigenous resistance. Language is integral to the ways in which dominant populations come to “know” and present the so-called “Other”. Such language is reflected in digital media, which both produce and maintain white anxieties towards race and ethnicity. When part of mainstream vernacular, racialised language – and the value judgments associated with it – often remains in what Moreton-Robinson describes as “invisible regimes of power” (75). Everyday social structures, actions, and habits of thought veil oppressive and discriminatory attitudes that exist under the guise of “normality”. Colonisation and the dominance of Eurocentric ways of knowing, being, and doing has fixated itself on creating a normality that associates Indigeneity and darkness with negative and threatening connotations. In doing so, it reinforces power balances that presents an image of white superiority built on the invalidation of Indigeneity and Blackness. White fears and anxieties towards race made explicit through social and digital media are also manifest via subtle but equally pervasive everyday action (Carlson and Frazer; Matamoros-Fernández). Confronting and negotiating such fears becomes a daily reality for many Indigenous people. During the height of the 2020 Black Lives Matter protests in the United States, which extended to Australia and were linked to deaths in custody and police violence, African American poet Saul Williams reminded his followers of the power of language in constructing racialised fears (saulwilliams). In an Instagram post, Williams draws back the veil of an uncontested normality to ask that we take personal responsibility over the words we use. He writes: here’s a tip: Take the words DARK or BLACK in connection to bad, evil, ominous or scary events out of your vocabulary. We learn the stock market crashed on Black Monday, we read headlines that purport “Dark Days Ahead”. There’s “dark” or “black” humour which implies an undertone of evil, and then there are people like me who grow up with dark skin having to make sense of the English/American lexicon and its history of “fair complexions” – where “fair” can mean “light; blond.” OR “in accordance with rules or standards; legitimate.” We may not be fully responsible for the duplicitous evolution of language and subtle morphing of inherited beliefs into description yet we are in full command of the words we choose even as they reveal the questions we’ve left unasked. Like the work of Moreton-Robinson and other scholars, Williams implores his followers to take a reflexive position to consider the questions often left unasked. In doing so, he calls for the transcendence of anonymity and engagement with the realities of colonisation – no matter how ugly, confronting, and complicit one may be in its continuation. In the Australian context this means confronting how terms such as “dark”, “darkie”, or “darky” were historically used as derogatory and offensive slurs for Aboriginal peoples. Such language continues to be used today and can be found in the comment sections of social media, online news platforms, and other online forums (Carlson “Love and Hate”). Taking the move to execute personal accountability can be difficult. It can destabilise and reframe the ways in which we understand and interact with the world (Rose 22). For some, however, exposing racism and seemingly mundane aspects of society is taken as a personal attack which is often met with reactionary responses where one remains closed to new insights (Whittaker). This feeds into fears and anxieties pertaining to the perceived loss of power. These fears and anxieties continue to surface through conversations and calls for action on issues such as changing the date of Australia Day, the racialised reporting of news (McQuire), removing of plaques and statues known to be racist, and requests to change placenames and the names of products. For example, in 2020, Australian cheese producer Saputo Dairy Australia changed the name of it is popular brand “Coon” to “Cheer Tasty”. The decision followed a lengthy campaign led by Dr Stephen Hagan who called for the rebranding based on the Coon brand having racist connotations (ABC). The term has its racist origins in the United States and has long been used as a slur against people with dark skin, liking them to racoons and their tendency to steal and deceive. The term “Coon” is used in Australia by settlers as a racist term for referring to Aboriginal peoples. Claims that the name change is example of political correctness gone astray fail to acknowledge and empathise with the lived experience of being treated as if one is dirty, lazy, deceitful, or untrustworthy. Other brand names have also historically utilised racist wording along with imagery in their advertising (Conor). Pear’s soap for example is well-known for its historical use of racist words and imagery to legitimise white rule over Indigenous colonies, including in Australia (Jackson). Like most racial epithets, the power of language lies in how the words reflect and translate into actions that dehumanise others. The words we use matter. The everyday “ordinary” world, including online, is deeply politicised (Carlson and Frazer “They Got Filters”) and comes to reflect attitudes and power imbalances that encourage white people to internalise the falsity that they are superior and should have control over Black people (Conor). Decisions to make social change, such as that made by Saputo Dairy Australia, can manifest into further white anxieties via their ability to force the confrontation of the circumstances that continue to contribute to one’s own prosperity. In other words, to unveil the realities of colonialism and ask the questions that are too often left in the dark. Lived Experiences of Darkness Colonial anxieties and fears are driven by the fact that Black populations in many areas of the world are often characterised as criminals, perpetrators, threats, or nuisances, but are rarely seen as victims. In Australia, the repeated lack of police response and receptivity to concerns of Indigenous peoples expressed during the Black Lives Matter campaign saw tens of thousands of people take to the streets to protest. Protestors at the same time called for the end of police brutality towards Indigenous peoples and for an end to Indigenous deaths in custody. The protests were backed by a heavy online presence that sought to mobilise people in hope of lifting the veil that shrouds issues relating to systemic racism. There have been over 450 Aboriginal and Torres Strait Islander people to die in custody since the end of the Royal Commission into Aboriginal Deaths in Custody in 1991 (The Guardian). The tragedy of the Indigenous experience gains little attention internationally. The negative implications of being the object of white fear and anxiety are felt by Indigenous and other Black communities daily. The “safety signals” (Daniella Emanuel) adopted by white peoples in response to often irrational perceptions of threat signify how Indigenous and other Black peoples and communities are seen and valued by the hegemony. Memes played out in social media depicting “Karens” – a term that corresponds to caricaturised white women (but equally applicable to men) who exhibit behaviours of entitlement – have increasing been used in media to expose the prevalence of irrational racial fears (also see Wong). Police are commonly called on Indigenous people and other Black people for simply being within spaces such as shopping malls, street corners, parks, or other spaces in which they are considered not to belong (Mohdin). Digital media are also commonly envisioned as a space that is not natural or normal for Indigenous peoples, a notion that maintains narratives of so-called Indigenous primitivity (Carlson and Frazer). Media connotations of darkness as threatening are associated with, and strategically manipulated by, the images that accompany stories about Indigenous peoples and other Black peoples. Digital technologies play significant roles in producing and disseminating the images shown in the media. Moreover, they have a “role in mediating and amplifying old and new forms of abuse, hate, and discrimination” (Matamoros-Fernández and Farkas). Daniels demonstrates how social media sites can be spaces “where race and racism play out in interesting, sometimes disturbing, ways” (702), shaping ongoing colonial fears and anxieties over Black peoples. Prominent footballer Adam Goodes, for example, faced a string of attacks after he publicly condemned racism when he was called an “Ape” by a spectator during a game celebrating Indigenous contributions to the sport (Coram and Hallinan). This was followed by a barrage of personal attacks, criticisms, and booing that spread over the remaining years of his football career. When Goodes performed a traditional war dance as a form of celebration during a game in 2015, many turned to social media to express their outrage over his “confrontational” and “aggressive” behaviour (Robinson). Goodes’s affirmation of his Indigeneity was seen by many as a threat to their own positionality and white sensibility. Social media were therefore used as a mechanism to control settler narratives and maintain colonial power structures by framing the conversation through a white lens (Carlson and Frazer “They Got Filters”). Indigenous peoples in other highly visible fields have faced similar backlash. In 1993, Elaine George was the first Aboriginal person to feature on the cover of Vogue magazine, a decision considered “risky” at the time (Singer). The editor of Vogue later revealed that the cover was criticised by some who believed George’s skin tone was made to appear lighter than it actually was and that it had been digitally altered. The failure to accept a lighter skin colour as “Aboriginal” exposes a neglect to accept ethnicity and Blackness in all its diversity (Carlson and Frazer “They Got Filters”; Carlson “Love and Hate”). Where Adam Goodes was criticised for his overt expression of Blackness, George was critisised for not being “black enough”. It was not until seventeen years later that another Aboriginal model, Samantha Harris, was featured on the cover of Vogue (Marks). While George inspired and pathed the way for those to come, Harris experienced similar discrimination within the industry and amongst the public (Carson and Ky). Singer Jessica Mauboy (in Hornery) also explains how her identity was managed by others. She recalls, I was pretty young when I first received recognition, and for years I felt as though I couldn't show my true identity. What I was saying in public was very dictated by other people who could not handle my sense of culture and identity. They felt they had to take it off my hands. Mauboy’s experience not only demonstrates how Blackness continues to be seen as something to “handle”, but also how power imbalances play out. Scholar Chelsea Watego offers numerous examples of how this occurs in different ways and arenas, for example through relationships between people and within workplaces. Bargallie’s scholarly work also provides an understanding of how Indigenous people experience racism within the Australian public service, and how it is maintained through the structures and systems of power. The media often represents communities with large Indigenous populations as being separatist and not contributing to wider society and problematic (McQuire). Violence, and the threat of violence, is often presented in media as being normalised. Recently there have been calls for an increased police presence in Alice Springs, NT, and other remotes communities due to ongoing threats of “tribal payback” and acts of “lawlessness” (Sky News Australia; Hildebrand). Goldberg uses the phrase “Super/Vision” to describe the ways that Black men and women in Black neighbourhoods are continuously and erroneously supervised and surveilled by police using apparatus such as helicopters and floodlights. Simone Browne demonstrates how contemporary surveillance practices are rooted in anti-black domination and are operationalised through a white gaze. Browne uses the term “racializing surveillance” to describe a ”technology of social control where surveillance practices, policies, and performances concern the production of norms pertaining to race and exercise a ‘power to define what is in or out of place’” (16). The outcome is often discriminatory treatment to those negatively racialised by such surveillance. Narratives that associate Indigenous peoples with darkness and danger fuel colonial fears and uphold the invisible regimes of power by instilling the perception that acts of surveillance and the restrictions imposed on Indigenous peoples’ autonomy are not only necessary but justified. Such myths fail to contextualise the historic colonial factors that drive segregation and enable a forgetting that negates personal accountability and complicity in maintaining colonial power imbalances (Riggs and Augoustinos). Inayatullah and Blaney (165) write that the “myth we construct calls attention to a darker, tragic side of our ethical engagement: the role of colonialism in constituting us as modern actors.” They call for personal accountability whereby one confronts the notion that we are both products and producers of a modernity rooted in a colonialism that maintains the misguided notion of white supremacy (Wolfe; Mignolo; Moreton-Robinson). When Indigenous and other Black peoples enter spaces that white populations don’t traditionally associate as being “natural” or “fitting” for them (whether residential, social, educational, a workplace, online, or otherwise), alienation, discrimination, and criminalisation often occurs (Bargallie; Mohdin; Linhares). Structural barriers are erected, prohibiting career or social advancement while making the space feel unwelcoming (Fredericks; Bargallie). In workplaces, Indigenous employees become the subject of hyper-surveillance through the supervision process (Bargallie), continuing to make them difficult work environments. This is despite businesses and organisations seeking to increase their Indigenous staff numbers, expressing their need to change, and implementing cultural competency training (Fredericks and Bargallie). As Barnwell correctly highlights, confronting white fears and anxieties must be the responsibility of white peoples. When feelings of shock or discomfort arise when in the company of Indigenous peoples, one must reflexively engage with the reasons behind this “fear of the dark” and consider that perhaps it is they who are self-segregating. Mohdin suggests that spaces highly populated by Black peoples are best thought of not as “black spaces” or “black communities”, but rather spaces where white peoples do not want to be. They stand as reminders of a failed colonial regime that sought to deny and dehumanise Indigenous peoples and cultures, as well as the continuation of Black resistance and sovereignty. Conclusion In working towards improving relationships between Black and white populations, the truths of colonisation, and its continuing pervasiveness in local and global settings must first be confronted. In this article we have discussed the association of darkness with instinctual fears and negative responses to the unknown. White populations need to reflexively engage and critique how they think, act, present, address racism, and respond to Indigenous peoples (Bargallie; Moreton-Robinson; Whittaker), cultivating a “decolonising consciousness” (Bradfield) to develop new habits of thinking and relating. To overcome fears of the dark, we must confront that which remains unknown, and the questions left unasked. This means exposing racism and power imbalances, developing meaningful relationships with Indigenous peoples, addressing structural change, and implementing alternative ways of knowing and doing. Only then may we begin to embody Megan Cope’s message, “I’m not afraid of the Dark”. Acknowledgements We thank Dr Debbie Bargallie for her feedback on our article, which strengthened the work. References ABC News. 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IntroductionJohn Berger provides a compelling analysis in Ways of Seeing on how we’ve been socialized through centuries of art to see women as objects and men as subjects. This way of seeing men and women is more than aesthetic choices but in fact shapes our ideologies of gender. As Berger asserts: “The art of the past no longer exists as it once did… In its place there is a language of images. What matters now is who uses that language for what purpose” (33).What happens when there are no historical images that represent your identity? How do others learn to see you? How do you learn to represent yourself? This article addresses the challenges that bisexuals face in constructing and contending with media representations of non-normative sexualities. As Berger suggests: “A people or class which is cut off from its own past is far less free to choose and to act as a people or class than one that has been able to situate itself in history” (33). This article seeks to apply Berger’s core concepts in Ways of Seeing studying representations of bisexuality in mainstream media. How bisexuality is represented, and therefore observed, shapes what can ultimately be culturally understood and recognized.This article explores how bisexuals use digital media to construct self-representations and brand a bisexual identity. Bisexual representations are particularly relevant to study as they are often rendered invisible by the cultural hegemony of monosexuality. Cultural norms ideologically shape the intelligibility of representation; bisexuality is often misinterpreted when read within the dominant binaries of heterosexuality and homosexuality in Western European culture. This work addresses how users adapt visual, textual, and hyperlinked information in online spaces to create representations that can be culturally recognized. Users want to be seen as bisexuals. The research for this article examined online social spaces created by and for bisexuals between 2013-2015, as well as mainstream media addressing bisexuality or bisexual characters. The social spaces studied included national and regional websites for bisexual organizations, blogs dedicated to bisexual issues and topics, and public bisexual groups on Facebook and Tumblr. Participant observation and semiotic analysis was employed to analyze how bisexual representation was discussed and performed. Learning to See Bisexuality Bisexuality is often constructed within the domain of medical and psychological classification systems as a sexual identity situated between one polarity or the other: between desiring men or desiring women as sexual partners or between being gay or being straight in sexual orientation, as most widely put forth by Alfred Kinsey in the 1950s (Kinsey et al., 1948; e.g., Blumstein, 1977; Diamond, 1993; Weinberg, 1995). This popularly held conception has a particular history that serves to reinforce the normative categories of heterosexuality and monosexuality.This history does not reflect bisexual’s accounts of their own experiences of what it means to be bisexual. Bisexuals in the spaces I study express their sexuality as fluid both in terms of gender (objects of desire do not have to identify as only male or female) as well as in terms of the lifespan (desire based on sex or gender does not have remain consistent throughout one’s life). As one participant remarked: “I think of bisexual as a different orientation from both homosexuals (who orient exclusively towards same-sex romance/sexuality) and heterosexuals (who orient exclusively toward opposite-sex romance/sexuality). Bisexuals seem to think about the world in a different way: a world of ‘AND’ rather than a world of ‘OR’.” Or as another participant noted: “I saw video a couple of months ago that described ‘bi’ as being attracted to ‘same and different sexed people.’ I considered my internal debate settled at that point. Yes, it is binary, but only in the broadest sense.”This data from my research is congruent with data from much larger studies that examined longitudinal psycho-social development of bisexual identities (Klein, 1978; Barker, 2007; Diamond, 2008). Individuals’ narratives of a more “fluid” identity suggest an emphasis at the individual level less about fluctuating between “two” possible types of sexual partners than about a dynamic, complex desire within a coherent self. Nevertheless, popular constructions of bisexuality in media continue to emphasize it within hegemonic monosexual ideologies.Heterosexual relationships are overwhelmingly the most dominant relationship type portrayed in media, and the second most portrayed relationship is homosexuality, or a serial monogamy towards only one gender. This pairing is not only conveying the dominant hegemonic norms of heterosexuality (and most often paired with serial monogamy as well), but it is equally and powerfully reproducing the hegemonic ideal of monosexuality. Monosexuality is the romantic or sexual attraction to members of one sex or gender group only. A monosexual person may identify as either heterosexual or homosexual, the key element being that their sexual or romantic attraction remains consistently directed towards one sex or gender group. In this way, we have all been socialized since childhood to value not only monogamy but monosexuality as well. However, current research on sexuality suggests that self-identified bisexuals are the largest group among non-heterosexuals. In 2011, Dr. Gary Gates, Research Director of the Williams Institute at UCLA School of Law, analyzed data collected from nine national health surveys from the USA, United Kindgdom, Canada, Australia and Norway to provide the most comprehensive statistics available to date on how many people self-identify as lesbian, gay, bisexual and transgender. While the population percentage of LGBT people varied by country, the ratio of lesbian, gay and bisexuals among LGBT people remained consistent, with self-identified bisexuals accounting for 40-60% of all LGBT populations regardless of country. This data is significant for challenging the popular assumption that bisexuals are a small minority among non-heterosexuals; indeed, this data indicates that non-monosexuals represent half of all non-heterosexuals. Yet we have learned to recognize monosexuality as dominant, normal and naturalized, even within LGBT representations. Conversely, we struggle to even recognize relationships that fall outside of this hegemonic norm. In essence, we lack ways of seeing bisexuals, pansexuals, omnisexuals, asexuals, and all queer-identified individuals who do not conform to monosexuality. We quite literally have not learned to see them, or—worse yet—learned how to not see them.Bisexual representations are particularly relevant to study as they are often rendered invisible in cultures that practice monogamy paired with hegemonic monosexuality. Members of bisexual spaces desire to achieve recognition but struggle to overcome bisexual erasure in their daily lives.Misrepresention: The Triad in Popular MediaWhen bisexuality is portrayed in media it is most commonly portrayed in a disingenuous manner where the bisexual is portrayed as being torn between potential lovers, on a pathway from straight to gay, or as a serial liar and cheater who cannot remain monogamous due to overwhelming attractions. Representations of bisexuals in media are infrequent, but those that are available too often follow these inaccurate stereotypes. By far the most common convention for representing bisexuality in visual media is the use of the triad: three people convey the (mis)representation of bisexuality as a sexuality in the “middle” of heterosexuality and homosexuality. For the purpose of this article, data analysis will be limited to print magazines for the sake of length and clarity.The 2014 New York Times Magazine article “The Scientific Quest to Prove Bisexuality Exists” (Denizet-Lewis) addresses the controversial nature of bisexuality. The cover image depicts a close-up of a man’s face, separated into two halves: in one half, a woman is nuzzled up to the man’s cheek, and the other half a man is nuzzled up to his ear. Presumably the man is bisexual and therefore split into two parts: his heterosexual self and his homosexual self. This visual depiction of bisexuality reifies the notion that bisexuals are torn between two polar desires and experience equal and concurrent attraction to more than one partner simultaneously. Furthermore, the triad represented in this way suggests that the essential bisexual is having simultaneous liaisons with heterosexual and homosexual partners.Within the convention of the triad there is also a sub-genre closely connected with hypersexualization and the male gaze. In these cases, the triad is commonly presented in varying states of undress and/or in a bed. An article in The Guardian from 11 April 2014 with the headline: “Make up your mind! The science behind bisexuality” (Browne) includes an image with three attractive young people in bed together. A man is sitting up between two sleeping women and smoking a cigarette – the cigarette connotes post-coital sexual activity, as does the smirk on his face. This may have been a suitable image if the article had been about having a threesome, but the headline—and the article—are attempting to explain the science behind bisexuality. Furthermore, while the image is intended to illustrate an article on bisexuality, the image is fundamentally misleading. The women in the image are asleep and to the side and the man is awake and in the middle. He is the central figure – it is a picture of him. So who is the bisexual in the image? What is the image attempting to do? It seems that the goal is to titillate, to excite, and to satisfy a particularly heterosexual fantasy rather than to discuss bisexuality. This hypersexualization once again references the mistaken idea (or heterosexual male fantasy) that bisexuality is only expressed through simultaneous sex acts.Many of these examples are salacious but they occur with surprising regularity in the mainstream media. On 17 February 2016, the American Association of Retired Persons posted an article to the front page of their website titled “Am I Discovering I'm Bisexual?” (Schwartz, 2016). In the accompanying image at the top of the article, we see three people sitting on a park bench – two men on either side of a woman. The image is taken from behind the bench so we see their backs and ostensibly they do not see us, the viewer. The man on the left is kissing the woman in the center while also holding hands behind the back of the bench with the man sitting on her other side. The man on the right is looking away from the couple kissing, suggesting he is not directly included in their intimate activity. Furthermore, the two men are holding hands behind the bench, which could also be code for behind the woman’s back, suggesting infidelity to the dyad and depicting some form of duplicity. This triad reinforces the trope of the bisexual as promiscuous and untrustworthy.Images such as these are common and range from the more inoffensive to the salacious. The resulting implications are that bisexuals are torn between their internal hetero and homo desires, require simultaneous partners, and are untrustworthy partners. Notably, in all these images it is never clear exactly which individuals are bisexual. Are all three members of the triad bisexual? While this is a possible read, the dominant discourse leads us to believe that one of person in the triad is the bisexual while the others adhere to more dominant sexualities.Participants in my research were acutely aware of these media representations and expressed frequent negative reactions to the implications of the triad. Each article contained numerous online comments expressing frustration with the use of “threesomes.” As one commentator stated: “Without a threesome, we’re invisible. It’s messed up. I always imagine a t-shirt with 3 couples stick figure like: girl + girl, girl + boy, and boy + boy. and it says “6 bisexuals.” What is made clear in many user comments is that the mainstream social scripts used to portray bisexuality are clearly at odds with the ways in which bisexuals choose to describe or portray themselves. Seeing through CapitalismOne of the significant conclusions of this research was the ways in which the misrepresentation of bisexuality results in many individuals feeling underrepresented or made invisible within mainstream media. The most salient themes to emerge from this research is participants’ affective struggle with feeling "invisible.” The frequency of discourse specific to invisibility is significant, as well as its expressed negatively associated experiences and feelings. The public sharing of those reactions among individuals, and the ensuing discourse that emerges from those interactions, include imagining what visibility “looks” like (its semiotic markers and what would make those markers “successful” for visibility), and the articulation of “solutions” to counter perceived invisibility. Notably, participants often express the desire for visibility in terms of commodification. As one participant posted, “their [sic] is no style for bi, there is no voice tone, unless I'm wearing my shirt, how is anyone to know?” Another participant explicated, “I wish there was a look. I wish I could get up every day and put on the clothes and jewelry that identified me to the world when I stepped out of my apartment. I wish I was as visible on the street as I am on facebook.” This longing for a culturally recognizable bisexual identity is articulated as a desire for a market commodification of “bisexual.” But a commodified identity may be a misguided desire. As Berger warns: “Publicity is not merely an assembly of competing messages: it is a language in itself which is always being used to make the same general purpose… It proposes to each of us that we transform ourselves, or our lives, by buying something more” (131). Consumerism—and its bedfellow—marketing, aim to sell the fantasy of a future self whereby the consumer transforms themselves through material objects, not transforming the culture to accept them. Berger further elicits that marketing essentially convinces us that we are not whole the way we are and sells us the idea of a wholeness achieved through consumerism (134). Following Berger’s argument, this desire for a commodified identity, while genuine, may fundamentally undermine the autonomy bisexuals currently have insomuch as without a corporate brand, bisexual representations are more culturally malleable and therefore potentially more inclusive to the real diversity of bisexual identified people.However, Berger also rightly noted that “publicity is the culture of the consumer society. It propagates through images that society’s belief in itself” (139). Without any publicity, bisexuals are not wrong to feel invisible in a consumer culture. And yet “publicity turns consumption into a substitute for democracy. The choice of what one eats (or wears or drives) takes the place of significant political choice” (149). A commodified identity will not likely usher in meaningful political change in a culture where bisexuals experience worse mental health and discrimination outcomes than lesbian and gay people (LGBT Advisory Committee, 2011). Bisexuals Online: New Ways of SeeingThe Internet, which was touted early as a space of great potential for anonymity and exploration where visibility can be masked, here becomes the place where bisexuals try to make the perceived invisible ‘visible.’ Digital technologies and spaces provide particularly useful environments for participants of online bisexual spaces to negotiate issues of invisibility as participants construct visible identities through daily posts, threads, videos, and discourse in which bisexuality is discursively and visually imagined, produced, articulated, defended, and desired. But most importantly these digital technologies provide bisexuals with opportunities to counter misrepresentations in mainstream media. In the frequent example of intimate partners in the physical world rendering a bisexual’s identity invisible, participants of these online communities grapple with the seeming paradox of one’s offline self as the avatar and one’s online self as more fully integrated, represented, and recognized. One participant expressed this experience, remarking:I feel I'm more out online that offline. That's because, in the offline world there's the whole ''social assumptions'' issue. My co-workers, friends, etc, know I have a boyfriend, wich [sic] equals ''straight'' for most ppl out there. So, I'll out myself when the occasion comes (talking abt smn I used to date, the LGBT youth group I used to belong to, or usually just abt some girl I find attractive) and usually ppl are not surprised. Whereas online, my pic at Facebook (and Orkut) is a Bisexual Pride icon. I follow Bi groups on Twitter. I'm a member of bi groups. So, online it's spelled out, while offline ppl usually think me having a bf means I'm straight.The I Am Visible (IAV) campaign is just one example of an organized response to the perceived erasure of bisexuals in mainstream culture. Launched in January 2011 by Adrienne McCue (nee Williams), the executive director of the Bi Social Network, a non-profit organization aimed at bringing awareness to representations of bisexuality in media. The campaign was hosted on bisocialnetwork.com, with the goal to “stop biphobia and bi-erasure in our community, media, news, and entertainment,” Prior to going live, IAV implemented a six-month lead-up advertising campaign across multiple online bisexual forums, making it the most publicized new venture during the period of my study. IAV hosted user-generated videos and posters that followed the vernacular of coming out and provided emotional support for listeners who may be struggling with their identity in a world largely hostile to bisexuality. Perceived invisibility was the central theme of IAV, which was the most salient theme for every bisexual group I studied online.Perhaps the most notable video and still image series to come out of IAV were those including Emmy nominated Scottish actor Alan Cumming. Cumming, a long-time Broadway thespian and acclaimed film actor, openly identifies as bisexual and has criticized ‘gaystream’ outlets on more than one occasion for intentionally mislabeling him as ‘gay.’ As such, Alan Cumming is one of the most prominently celebrated bisexual celebrities during the time of my study. While there are numerous famous out gays and lesbians in the media industry who have lent their celebrity status to endorse LGBT political messages—such as Ellen DeGeneres, Elton John, and Neil Patrick Harris, to name a few—there have been notably fewer celebrities supporting bisexual specific causes. Therefore, Cummings involvement with IAV was significant for many bisexuals. His star status was perceived as contributing legitimacy to bisexuality and increasing cultural visibility for bisexuals.These campaigns to become more visible are based in the need to counteract the false media narrative, which is, in a sense, to educate the wider society as to what bisexuality is not. The campaigns are an attempt to repair the false messages which have been “learnt” and replace them with more accurate representations. The Internet provides bisexual activists with a tool with which they can work to correct the skewed media image of themselves. Additionally, the Internet has also become a place where bisexuals can more easily represent themselves through a wide variety of semiotic markers in ways which would be difficult or unacceptable offline. In these ways, the Internet has become a key device in bisexual activism and while it is important not to uncritically praise the technology it plays an important role in enabling correct representation. ReferencesBarker, Meg. 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