Journal articles on the topic 'Co-instructing'

The purpose of this research was to examine how co-teachers collaborate interdependently to make the science classroom inclusive for all students. Seven participants; two science teachers of School Smart; two science teachers of School Brainy; support teachers of School Smart and Brainy respectively; and Lily, the head of the inclusion program of School Brainy were selected purposively. As a qualitative description study, data were collected through semi-structured interviews, classroom observations, and instructional document analysis. Data collected were analyzed through a deductive approach using co-teaching as a predetermined framework. The findings indicate that the co-teachers in two schools were teaching collaboratively through co-planning, co-instructing, and co-assessing. Co-teachers from both schools claimed that most of the time spent collaborating was on co-instruction rather than co-planning and co-assessment. In School Smart, the co-teaching between science and the support teacher, called an alternative teaching model, is operating more effectively in terms of planning, scheduled meetings to discuss instructional planning and its implementation compared to School Brainy. Co-teachers in School Smart work more interdependently and collaboratively than the co-teachers in School Brainy

Organizational learning is an important function of tourism crisis management. By examining and evaluating hotels’ responses to the 2010 bed bug crisis on social media, the purpose of this study was to provide insights into how to establish effective crisis responses. Situational crisis communication theory was used as the theoretical framework and a total of 136 management responses were included in the sample. Content analysis and co-occurrence analysis were conducted. The results revealed a learning curve of crisis management for hotels. Enhancing and Bolstering were the most commonly used strategies within the sample. Further analysis showed the inconsistencies between hotels’ crisis response strategies and the situational crisis communication theory guidelines, where instructing information were seldom included. Based on the findings, this study discussed the importance of creating effective crisis responses and future research directions.

Narrating is a crucial activity in theatre rehearsals. Through this activity, narratives are performed, expanded, reinterpreted, or even completely improvised. The communicative practices used by theatre professionals to develop a play as a theatrical narrative have rarely been researched, both in linguistics and theatre studies. Therefore, this paper addresses how actors, directors, and other members of a theatre production collectively develop monologues as self-contained narratives within a play. The research focuses on how narrators and listeners, as an interactional ensemble, use multimodal actions to realize such monologues. Surprisingly, the co-narrators don’t appear to imagine their future audience but construct the narrations in situ with and for the present members. This observation especially becomes evident when mobile eye-tracking glasses measure the co-narrators’ gaze behavior. It shows that members of a theatre rehearsal perform different activities (e. g., improvising, reading, prompting, instructing, discussing, monitoring) with regard to local interactional requirements. This paper illustrates the procedures with which theatre-makers produce monologues as multimodal narratives and highlights the differences that distinguish such narratives in theatre from spontaneous everyday storytellings.

This study focused on the Ruwatan (cleaning the village) Performance of the Javanese community. The objective of the research was to find out the pattern of Ruwatan performance in the Ruwatan activity (cleaning the village) of the Javanese community through the concept of an anthropolinguistic approach that includes text, co-text, and context. further, it is used to describe the structure, stages, performance components, and functions of Ruwatan speech. The research data were video recordings, in-depth interviews and participatory observations. The method in this study using ethnography proposed by Spradley (1979, 1980) was applied in this study from data collection to analysis. The results showed that the Ruwatan performance contained in the Ruwatan process of the Javanese community was the performance of religion, tranquillity, order and comfort. The puppeteer's performance is the performance of acting as an intermediary between the human realm and the supernatural or supernatural realm by using offerings and spells containing supernatural powers in instructing, informing, and pleading with the Almighty.

e15705 Background: Pancreatic ductal adenocarcinoma (PDAC) is a lethal, incurable disease. Macrophages are one of the most abundant, multifunctional immune cell populations in the tumor microenvironment and a major component of the immune infiltrate in many solid tumors. Methods: Employing a multi-omics approach, PDAC cell lines and primary macrophages were CTAP (cell-type specific labelling using amino acid precursors)-labelled and admixed together for a prolonged period of time. To identify cell-of-origin of novel RNA and proteins, these mixed co-cultures were FACS sorted for downstream RNA-sequencing analysis or harvested in bulk for downstream proteome and secretome analysis. Results: Here, we provide new insight into the dichotomous relationship between epithelial and mesenchymal phenotypes of PDAC cells in 3D culture. We report the ability of PDAC mesenchymal cells to form vascular mimicry-like structures in a 3D in vitro assay of invasion. Additionally, we demonstrate that macrophages have the ability to impart a pro-invasive phenotype to PDAC cells when co-cultured in 3D, regardless of EMT (epithelial-to-mesenchymal transition) status. Preliminary integration of cell culture transcriptomes with CTAP-TMT proteomes and secretomes implicates several key epithelial- and macrophage-derived signalling molecules as principal instructing signals for mediating the observed pro-invasive phenotype. Conclusions: Blockade of these signalling molecules or their receptors disrupted the crosstalk between PDAC cells and macrophages within the tumor microenvironment and impaired the ability of macrophages to induce a pro-invasive phenotype to PDAC cells.

Extracellular vesicles (EVs) play a crucial role in intercellular communication as vehicles for the transport of membrane and cytosolic proteins, lipids, and nucleic acids including different RNAs. Dendritic cells (DCs)-derived EVs (DEVs), albeit variably, express major histocompatibility complex (MHC)-peptide complexes and co-stimulatory molecules on their surface that enable the interaction with other immune cells such as CD8+ T cells, and other ligands that stimulate natural killer (NK) cells, thereby instructing tumor rejection, and counteracting immune-suppressive tumor microenvironment. Malignant cells oppose this effect by secreting EVs bearing a variety of molecules that block DCs function. For instance, tumor-derived EVs (TDEVs) can impair myeloid cell differentiation resulting in myeloid-derived suppressor cells (MDSCs) generation. Hence, the unique composition of EVs makes them suitable candidates for the development of new cancer treatment approaches including prophylactic vaccine targeting oncogenic pathogens, cancer vaccines, and cancer immunotherapeutics. We offer a perspective from both cell sides, DCs, and tumor cells, on how EVs regulate the antitumor immune response, and how this translates into promising therapeutic options by reviewing the latest advancement in DEV-based cancer therapeutics.

In order to explore the development of research of science teacher(RST), 904 articles from the Web of Science (WoS) core set based on bibliometric methods through R software were analyzed in this research. Specifically, it examined the co-occurrence relations of countries/regions, major journals, most cited references, and hot keywords from the macroscopic, mesoscopic and microscopic level of RST. The results showed that the core strength of RST is mainly from traditional industrialized countries such as the United States, Australia, and Britain. And some top journals in science education (such as Journal of Research in Science Teaching, Science Education) has to pay more attention on RST, it may also appeal to lots of top journals in general teacher education (such as Journal of Teacher Education, Teaching and Teaher Education). The research on science teachers was guided by several educational theories about teacher research, such as the teacher epistemological belief, reflective practice, and PCK. Moreover, theories in science education such as scientific literacy, scientific conceptual change also becomes the theoretical basis for science teachers’ teaching practice and scientific inquiry instructing. The knowledge, key competences, dispositions, and professional development of science teacher are the main keywords and hot topics in the field of RST. Keywords: science teacher research, bibliometric analyses, Web of Science.

Abstract Follicular helper T cells (Tfh) play critical role in shaping, instructing, and initiating T-cell dependent antibody responses. Understanding the underlying mechanisms that enhance their function is therefore critical for vaccine development. Using a unique gene array analysis, we have identified adenosine deaminase (ADA), as a novel key molecule that drives Tfh helper program in proliferating Germinal Centers Tfh (GC Tfh) and circulatory Tfh (cTfh) cells following their interactions with B cells. In fact, our gene array analysis showed that CD26 and ADA were exclusively up-regulated within the less efficient cTfh1 (CD4+CD45RA−CXCR5+CXCR3+) and cTfh2-17 (CD4+CD45RA−CXCR5+CXCR3+CCR6+/−) subsets, respectively. ADA enzymatic activity is significantly higher, as well, in cTfh2-17 than in the less-efficient cTfh1 cells. Exogenous ADA enhances the ability of Tfh cells to provide B cell help while inhibition of ADA activity by specific inhibitors impeded Tfh function and blunted antibody response. Our results further demonstrated that enhancement of Tfh function by ADA pathway could be due to increase in IL-6 and decrease in IL-2 production in the co-culture, and maintenance of low extracellular expression of CD26. Moreover, blocking IL-2 in cTfh2-17 co-culture from virally suppressed HIV subjects (ST) showed a significant decrease of CD26 expression associated with a rescued helper capacity. Finally, in vivo use of recombinant ADA as an adjuvant in a DNA based HIV vaccine enhanced Tfh cells differentiation and enhanced anti-Env humoral response and isotype class-switch. Thus, ADA activity fine-tunes Tfh helper program and deciphering how ADA regulate the function of Tfh subsets would benefit future vaccine adjuvant design.

Background, aims and objectives: Children and healthcare professionals should be provided with easy-to-use tools which could lead to actionable results. There is increasing interest in the use of patient-reported outcomes to aid management of individual care; therefore the use of health-related quality of life (HRQOL) assessments during consultations need to be studied. The aim of this study was to explore how healthcare professionals use a HRQOL assessment tool during paediatric encounters. Methods: A descriptive, explorative design with a qualitative approach based on video-recordings was chosen. Twenty-one video recordings, from 9 different healthcare professionals’ consultations where an assessment tool of HRQOL were used, were analysed by content analysis. Results: The healthcare professionals were using different strategies and when they combined these strategies 3 approaches emerged. The instructing approach was characterized by healthcare professionals giving a summary of the results, leading to children becoming passive bystanders in the encounter. An inviting approach, requesting the children’s perceptions of their situation resulted in the children becoming involved in the conversations. Conclusions: The child’s involvement could be facilitated depending on which approach was being used. When an inviting and engaging approach is used, actions in a non-linear set of interactions was co-produced with the child. The use of an HRQOL assessment tool changed the management during consultations and acted to promote child involvement.

If an insurer pays on a claim for loss, either by the terms of the insurance contract itself or by virtue of its equitable right of subrogation, the insurer becomes entitled to stand in the shoes of the insured and pursue any person causing the loss. That may involve the insurer instructing solicitors to issue a proceeding in which the insured will be named as the plaintiff. The insured's co-operation is required by the terms of the insurance contract. Although remunerated by the insurer, the solicitors will be on the record as solicitors for the insured as the named plaintiff. In the course of conducting the litigation and, in particular, in the course of interviewing the insured, it may come to the solicitors' attention that the insurer did have grounds for rejecting the claim. In addition, the insured's lack of co-operation in the prosecution of the claim may amount to a breach of the insured's contractual obligation to assist. In such instances, conflicts of interest arise. In addition, where the policy provides for a deductible which is other than nominal, decisions made as to the conduct of the litigation, in particular, decisions relating to settlement of claims, may impact differently on insurer and insured and give rise to conflicts of interest. Part I of this article looks at conflicts faced by solicitors who, while acting for both insurer and insured, become aware of grounds upon which a claim under a policy could be rejected or, in the case of a claim which has already been accepted, could have been rejected. Part II examines a number of conflict problems which can arise in the conduct of litigation other than conflicts caused by the discovery of grounds for rejection.

Appeals to ‘nature’ have historically led to normative claims about who is rendered valuable. These understandings elevate a universal, working body (read able-bodied, white, producing capital) that design and disability studies scholar Aimi Hamraie argues ‘has served as a template […] for centuries’ (2017: 20), becoming reified through our architectural, political, and technological infrastructures. Using the framing of the cyborg, we explore how contemporary assistive technologies have the potential to both reproduce and trouble such normative claims. The modern transhumanism movement imagines cyborg bodies as self-contained and invincible, championing assistive technologies that seek to assimilate disabled people towards ever-increasing standards of independent productivity and connecting worth with the body's capacity for labor. In contrast, disability justice communities see all bodies as inherently worthy and situated within a network of care-relationships. Rather than being invincible, the cripborg's relationship with technology is complicated by the ever-present functional and financial constraints of their assistive devices. Despite these lived experiences, the expertise and agency of disabled activist communities is rarely engaged throughout the design process. In this article, we use speculative design techniques to reimagine assistive technologies with members of disability communities, resulting in three fictional design proposals. The first is a manual for a malfunctioning exoskeleton, meant to fill in the gaps where corporate planned obsolescence and black-boxed design delimit repair and maintenance. The second is a zine instructing readers on how to build their own intimate prosthetics, emphasizing the need to design for pleasurable, embodied, and affective experience. The final design proposal is a city-owned fleet of assistive robots meant to push people in manual wheelchairs up hills or carry loads for elderly people, an example of an environmental adaptation which explores the problems of automating care. With and through these design concepts, we begin to explore assistive devices that center the values of disability communities, using design proposals to co-imagine versions of a more crip-centered future.

Mouse Cdx and Hox genes presumably evolved from genes on a common ancestor cluster involved in anteroposterior patterning. Drosophila caudal (cad) is involved in specifying the posterior end of the early embryo, and is essential for patterning tissues derived from the most caudal segment, the analia. Two of the three mouse Cdx paralogues, Cdx 1 and Cdx2, are expressed early in a Hox-like manner in the three germ layers. In the nascent paraxial mesoderm, both genes are expressed in cells contributing first to the most rostral, and then to progressively more caudal parts of the vertebral column. Later, expression regresses from the anterior sclerotomes, and is only maintained for Cdx1 in the dorsal part of the somites, and for both genes in the tail bud. Cdx1 null mutants show anterior homeosis of upper cervical and thoracic vertebrae. Cdx2-null embryos die before gastrulation, and Cdx2 heterozygotes display anterior transformations of lower cervical and thoracic vertebrae. We have analysed the genetic interactions between Cdx1 and Cdx2 in compound mutants. Combining mutant alleles for both genes gives rise to anterior homeotic transformations along a more extensive length of the vertebral column than do single mutations. The most severely affected Cdx1 null/Cdx2 heterozygous mice display a posterior shift of their cranio-cervical, cervico-thoracic, thoraco-lumbar, lumbo-sacral and sacro-caudal transitions. The effects of the mutations in Cdx1 and Cdx2 were co-operative in severity, and a more extensive posterior shift of the expression of three Hox genes was observed in double mutants. The alteration in Hox expression boundaries occurred early. We conclude that both Cdx genes cooperate at early stages in instructing the vertebral progenitors all along the axis, at least in part by setting the rostral expression boundaries of Hox genes. In addition, Cdx mutants transiently exhibit alterations in the extent of Hox expression domains in the spinal cord, reminding of the strong effects of overexpressing Cdx genes on Hox gene expression in the neurectoderm. Phenotypical alterations in the peripheral nervous system were observed at mid-gestation stages. Strikingly, the altered phenotype at caudal levels included a posterior truncation of the tail, mildly affecting Cdx2 heterozygotes, but more severely affecting Cdx1/Cdx2 double heterozygotes and Cdx1 null/Cdx2 heterozygotes. Mutations in Cdx1 and Cdx2 therefore also interfere with axis elongation in a cooperative way. The function of Cdx genes in morphogenetic processes during gastrulation and tail bud extension, and their relationship with the Hox genes are discussed in the light of available data in Amphioxus, C. elegans, Drosophila and mice.

Abstract Background Most cutting biomechanical studies investigate performance and knee joint load determinants independently. This is surprising because cutting is an important action linked to performance and non-contact anterior cruciate ligament (ACL) injuries. The aim of this study was to investigate the relationship between cutting biomechanics and cutting performance (completion time, ground contact time [GCT], exit velocity) and surrogates of non-contact ACL injury risk (knee abduction [KAM] and internal rotation [KIRM] moments) during 90° cutting. Design Mixed, cross-sectional study following an associative design. 61 males from multidirectional sports performed six 90° pre-planned cutting trials, whereby lower-limb and trunk kinetics and kinematics were evaluated using three-dimensional (3D) motion and ground reaction force analysis over the penultimate (PFC) and final foot contact (FFC). Pearson’s and Spearman’s correlations were used to explore the relationships between biomechanical variables and cutting performance and injury risk variables. Stepwise regression analysis was also performed. Results Faster cutting performance was associated (p ≤ 0.05) with greater centre of mass (COM) velocities at key instances of the cut (r or ρ = 0.533–0.752), greater peak and mean propulsive forces (r or ρ = 0.449–0.651), shorter FFC GCTs (r or ρ = 0.569–0.581), greater FFC and PFC braking forces (r = 0.430–0.551), smaller hip and knee flexion range of motion (r or ρ = 0.406–0.670), greater knee flexion moments (KFMs) (r = 0.482), and greater internal foot progression angles (r = − 0.411). Stepwise multiple regression analysis revealed that exit velocity, peak resultant propulsive force, PFC mean horizontal braking force, and initial foot progression angle together could explain 64% (r = 0.801, adjusted 61.6%, p = 0.048) of the variation in completion time. Greater peak KAMs were associated with greater COM velocities at key instances of the cut (r or ρ = − 0.491 to − 0.551), greater peak knee abduction angles (KAA) (r = − 0.468), and greater FFC braking forces (r = 0.434–0.497). Incidentally, faster completion times were associated with greater peak KAMs (r = − 0.412) and KIRMs (r = 0.539). Stepwise multiple regression analysis revealed that FFC mean vertical braking force and peak KAA together could explain 43% (r = 0.652, adjusted 40.6%, p < 0.001) of the variation peak KAM. Conclusion Techniques and mechanics associated with faster cutting (i.e. faster COM velocities, greater FFC braking forces in short GCTs, greater KFMs, smaller hip and knee flexion, and greater internal foot progression angles) are in direct conflict with safer cutting mechanics (i.e. reduced knee joint loading, thus ACL injury risk), and support the “performance-injury conflict” concept during cutting. Practitioners should be conscious of this conflict when instructing cutting techniques to optimise performance while minimising knee joint loading, and should, therefore, ensure that their athletes have the physical capacity (i.e. neuromuscular control, co-contraction, and rapid force production) to tolerate and support the knee joint loading during cutting.

First up for review here is a timely collection of essays edited by Joseph Farrell and Damien Nelis analysing the way the Republican past is represented and remembered in poetry from the Augustan era. Joining the current swell of scholarship on cultural and literary memory in ancient Greece and Rome, and building on work that has been done in the last decade on the relationship between poetry and historiography (such as Clio and the Poets, also co-edited by Nelis), this volume takes particular inspiration from Alain Gowing's Empire and Memory. The individual chapter discussions of Virgil, Ovid, Propertius, and Horace take up Gowing's project of exploring how memories of the Republic function in later literature, but the volume is especially driven by the idea of the Augustan era as a distinct transitional period during which the Roman Republic became history (Gowing, in contrast, began his own study with the era of Tiberius). The volume's premise is that the decades after Actium and the civil wars saw a particularly intense relationship develop with what was gradually becoming established, along with the Principate, as the ‘pre-imperial’ past, discrete from the imperial present and perhaps gone forever. In addition, in a thought-provoking afterword, Gowing suggests that this period was characterized by a ‘heightened sense of the importance and power of memory’ (320). And, as Farrell puts it in his own chapter on Camillus in Ovid's Fasti: ‘it was not yet the case that merely to write on Republican themes was, in effect, a declaration of principled intellectual opposition to the entire Imperial system’ (87). So this is a unique period, where the question of how the remembering of the Republican past was set in motion warrants sustained examination; the subject is well served by the fifteen individual case studies presented here (bookended by the stimulating intellectual overviews provided by the editors’ introduction and Gowing's afterword). The chapters explore the ways in which Augustan poetry was involved in creating memories of the Republic, through selection, omission, interpretation, and allusion. A feature of this poetry that emerges over the volume is that the history does not usually take centre stage; rather, references to the past are often indirect and tangential, achieved through the generation and exploitation of echoes between history and myth, and between past and present. This overlaying crops up in many guises, from the ‘Roman imprints’ on Virgil's Trojan story in Aeneid 2 (Philip Hardie's ‘Trojan Palimpsests’, 117) to the way in which anxieties about the civil war are addressed through the figure of Camillus in Ovid's Fasti (Farrell) or Dionysiac motifs in the Aeneid (Fiachra Mac Góráin). In this poetry, history is often, as Gowing puts it, ‘viewed through the prism of myth’ (325); but so too myth is often viewed through the prism of recent history and made to resonate with Augustan concerns, especially about the later Republic. The volume raises some important questions, several of which are articulated in Gowing's afterword. One central issue, relating to memory and allusion, has also been the subject of some fascinating recent discussions focused on ancient historiography, to which these studies of Augustan poetry now contribute: How and what did ancient writers and their audiences already know about the past? What kind of historical allusions could the poets be expecting their readers to ‘get’? Answers to such questions are elusive, and yet how we answer them makes such a difference to how we interpret the poems. So Jacqueline Febre-Serris, for instance, argues that behind Ovid's spare references to the Fabii in his Fasti lay an appreciation of a complex and contested tradition, which he would have counted on his readers sharing; while Farrell wonders whether Ovid, by omitting mention of Camillus’ exile and defeat of the Gauls, is instructing ‘the reader to remember Veii and to forget about exile and the Gauls’ or whether in fact ‘he counts on having readers who do not forget such things’ (70). In short this volume is an important contribution to the study of memory, history, and treatments of the past in Roman culture, which has been gathering increasing momentum in recent years. Like the conference on which it builds, the book has a gratifyingly international feel to it, with papers from scholars working in eight different countries across Europe and North America. Although all the chapters are in English, the imprint of current trends in non-Anglophone scholarship is felt across the volume in a way that makes Latin literature feel like a genuinely and excitingly global project. Rightly, Gowing points up the need for the sustained study of memory in the Augustan period to match that of Uwe Walter's thorough treatment of memory in the Roman republic; Walter's study ends with some provocative suggestions about the imperial era that indeed merit further investigation, and this volume has now mapped out some promising points of departure for such a study.

As co-teachers tackle the unique challenges of instructing in remote, hybrid, and socially distanced brick-and-mortar settings they can increase their success by incorporating technology solutions into their shared classrooms. Technology can facilitate co-teachers’ implementation of small-group instruction, increase options for student engagement and participation, and establish instructional consistency through clear communication. The result can be enhanced student learning and more efficient and effective delivery of the specially designed instruction that students with disabilities must receive.

In this paper the authors reflect upon their unique experiences co-instructing a large undergraduate Diversity Issues course from the perspectives of a White Canadian woman and Middle-Eastern Muslim woman collaborating together for a shared vision of social change. They argue that merging cognitive and sociocultural studies is necessary in order to prepare dominant groups to participate more effectively in pedagogical activities related to social justice. They analyze their co-instructional approach and offer a series of recommendations that may assist institutions, programs, and instructors with preparing teacher candidates to be ready to embrace the many forms of diversity that exist within Canadian classrooms.

Abstract Demonstrations are a central resource for instructing body knowledge. They allow instructors to provide learners with a structured perceptual access to the performance of an activity. The present paper considers demonstrations as inherently social activities, in which not only the instructor but also the learners may participate. A particular form of co-participation is that learners synchronize their own bodily actions with the demonstration of the instructor. The paper examines two practices of synchronization in demonstrations. In emergent synchronizations the instructor invites the student(s) to synchronize, rather than request them to do so. In orchestrated synchronizations teachers actively pursue the students’ bodily synchronization. The two practices are typically used for different instructional purposes. While emergent synchronizations are typically used in corrective instructions, orchestrated synchronizations are typically used to instruct new knowledge. Based on a large corpus of instructions in dancing Argentine Tango, the paper uses multimodal interaction analysis to characterize both practices regarding their interactional organization, their functional properties and the resources used by the participants to establish synchronization.

Safety is one of many imperatives considered by engineers as they design, build, test, and maintain solutions to meet client needs. The mindset and relevant knowledge of individual engineers toward safety is formed n the tertiary classroom, which students then carry with them into their careers and influence the safety culture of heir workspaces. As an innovative means to include safety content in the University of Alberta’s Faculty of Engineering undergraduate programs, a large-scale project tasked co-op students with creating videos promoting and instructing on safety concepts and procedures in laboratory spaces. Beyond the deliverables, this authentic, active learning experience increased the safety knowledge and commitment of both students and staff, infiltrating and positively impacting the safety culture within all engineering and science programs.

Understanding human hematopoietic stem cell fate control is important for their improved therapeutic manipulation. Asymmetric cell division, the asymmetric inheritance of factors during division instructing future daughter cell fates, was recently described in mouse blood stem cells. In human blood stem cells, the possible existence of asymmetric cell division remained unclear due to technical challenges in its direct observation. Here, we use long-term quantitative single-cell imaging to show that lysosomes and active mitochondria are asymmetrically inherited in human blood stem cells and that their inheritance is a coordinated, non-random process. Furthermore, multiple additional organelles, including autophagosomes, mitophagosomes, autolysosomes and recycling endosomes show preferential asymmetric co-segregation with lysosomes. Importantly, asymmetric lysosomal inheritance predicts future asymmetric daughter cell cycle length, differentiation and stem cell marker expression, while asymmetric inheritance of active mitochondria correlates with daughter metabolic activity. Hence, human hematopoietic stem cell fates are regulated by asymmetric cell division, with both mechanistic evolutionary conservation and differences to the mouse system.

Abstract Language is believed to be a central device for communicating meaning and knowledge between humans. It is superb in its capacity to code abstract ideas and displaced information, which can be conveyed from person to person, sometimes across centuries. When it comes to instructing a bodily skill in co-present situations, language is used along with other multimodal resources. This paper focuses on the role of vocalizations in dance teaching, syllables that express simultaneous body movement rather than abstract lexical content. While being essentially a vocal resource, the meaning of vocalizations arises in the simultaneously moving bodies. By carrying indexical and only partially conventionalized meaning, vocalizations constitute a puzzle for linguistic theory that preferably targets the arbitrary, symbolic and conventionalized aspects of human vocal production. The meanings conveyed from one body to another through a vocalization are experiential rather than intellectual. Vocalizations provide a solution to the problem of transferring body knowledge from one autonomous organism to another, and can even be embedded in syntax. The analysis is based on an occasion of teaching a jazz routine to a larger group of students.

The property theory is a unique principle instructing traditional Chinese doctors to prescribe proper medicines against diseases. As an essential part of it, the five-flavor theory catalogs various Chinese materia medicas (CMMs) into five flavors (sweet, bitter, sour, salty, and pungent) based on their taste and medical functions. Although CMM has been successfully applied in China for thousands of years, it is still a big challenge to interpret CMM flavor via modern biomarkers, further deepening its elusiveness. Herein, to identify the correlation between gut microbiota and CMM flavor, we selected 14 CMMs with different flavors to prepare their aqueous extracts, quantified the contained major chemical components, and then performed full-length 16S rRNA sequencing to analyze the gut microbiota of C57BL/6 mice administrated with CMM extracts. We found that flavones, alkaloids, and saponins were the richest components for sweet-, bitter-, and pungent-flavored CMMs, respectively. Medicines with merged flavors (bitter-pungent and sweet-pungent) displayed mixed profiles of components. According to gut microbial analysis, modulation of CMMs belonging to the same flavor on the taxonomic classification was inconsistent to an extent, while the functional sets of gut microbiota, co-abundance gene groups (CAGs), strongly and differentially responded to distinct flavors. Moreover, these correlations were in line with their pharmacological actions. Therefore, the gut microbial functional sets (CAGs) could act as the possible indicator to reflect CMM flavor, rather than the composition of microbial community.

A prevenção e o combate aos incêndios florestais nas Unidades de Conservação Federal no estado de Roraima demandaram um sistema de logística e locação de pessoal especializado, além de equipamentos apropriados. O controle de queimadas no Estado em 2003 e 2004 teve início com a elaboração participativa de um calendário de queima, com as seguintes ações do Ibama: o Ibama Itinerante, que emitiu autorizações de queima nos assentamentos, favorecendo a legalização dos produtores sem acesso ao Ibama e o controle deste sobre quanto, onde e o que se queima no Estado; vistorias técnicas associadas à fiscalização especializada, instruindo a queima in locu e o desenvolvimento de atividades típicas de fiscalização. WILDLAND FIRE PREVENTION AND SUPPRESSION IN THE STATE OF RORAIMA –2003/2004 Abstract Prevention and suppression of wildland fires in Federal Conservation Units in the State of Roraima demandeimplementation of a logistical system, work of specialized professionals and the use of appropriate equipments2003 and 2004, the control of burnings in Roraima initiated with the establishment of a calendar for prescburnings elaborated in co-operation with several governmental and non-governmental institutions, with the folloactions being delegated to Ibama: a routing team-work was responsible for the issuing of burning authorizatiosettlements located near to agriculturists, contributing for the legalization of producers without access to Ibamatheir control; the knowledge of who was making a burning, when, where, how much and what areas were burniRoraima; to hold technical inspections associated to law-enforcement activities, instructing small farmers “in locuhow to make a prescribed burning, and the development of typical inspection activities.

This study aimed to propose a gantry virtual track train (G-VTT) architecture and investigate the path-tracking control of it. Based on the decoupling control theory, the concept and judgment criterion of the path-tracking independence of the G-VTT was proposed to provide a method to analyzing the compatibility between motion control and mechanical architecture, and instructing the design of the architecture of the G-VTT that could realize autonomous path-tracking with simple control strategy. The controllability and observability of the path-tracking control system were discussed from the perspective of vehicle kinematics and the decouplibility of each tracking point's lateral motion and the path-tracking independence of the vehicle was proved. The distributed virtual driving (DVD) model based on self-adaptive preview PID algorithm was proposed to achieve independent path-tracking of each axle. This model consists of two parts: forward preview model based on the fractional calculus theory simulating the driver's visual field and the parameter self-tuning PID controller based on variable universe fuzzy control theory (VUF-PID controller). The effectiveness and adaptability of the DVD model were verified by co-simulation test. The results show that the VUF-PID controller has an excellent control performance and could realize the self-tuning of PID parameters effectively and could adapt to the noticeable hysteresis effect with the forward preview model introduced. Moreover, the VUF-PID controller could significantly improve the curve-passing stability of the G-VTT, and exhibits excellent adaptability to the traveling speed, curve radius, and vehicle payload. Even when the train travels under an adverse operating condition with lateral acceleration about 3.2m/s2, the maximum tracking error could still be kept below ±0.02 m.

This significant judgment of the Constitutional Court concerned “a little black girl whose dream was to obtain education at the school closest to her home”. After a protracted and acrimonious four-year admission saga and indeed a poignant and human drama, relating to the admission of a learner, which involved judgments in both the High Court and Supreme Court of Appeal (SCA), on 3 October 2013, the Constitutional Court (CC) decided in favour of the Member of the Executive Council (MEC) in the Province of Gauteng, instructing the principal of the Rivonia Primary School to admit a learner in excess of the limit in the school’s admission policy. Although this case deals, inter alia, with the Minister who has the ultimate authority to decide the capacity of public schools, it also just as importantly, addresses the vexed issue of how a conflict between the School Governing Body (SGB) and Gauteng Provincial Education Department should have been addressed and ultimately resolved, and in so doing creating a beneficial precedent. It was necessary to determine who has the final say: the SGB, the officials in the Provincial Education Department, or indeed a combination of the two. The judgment of South Africa’s highest Court must be understood in the light of the right to basic education encapsulated in section 29 of the Constitution. As Mhlantla AJ, explains this involves a solemn “promise”, the realisation of which in a society where there are vast economic inequalities and a maldistribution of scarce resources is severely fraught with problems. This state of affairs cannot be denied and must be faced up to such as the Constitutional Court commented in Head of Department, Mpumalanga Department of Education v Hoërskool Ermelo (2010 (2) SA 415 (CC)). As a result of such inequality and disadvantage, inordinate tensions and expectations have been generated in relation to education. What is required in adjudication of such issues is the wisdom of Solomon. In this regard, Mhlantla AJ, comments, the “Constitution provides us with a reference point – the best interest of our children”. This is clearly enunciated in section 28(2) of the Constitution, which states that “[a] child’s best interests are of paramount importance in every matter concerning the child”. As will be explained below, it is submitted that this judgment is a singular victory for the letter and spirit of co-operative government and community partnership, which is so fundamental to the success of our system of democratic governance.

We take as our subject what many would deem a waste of good celluloid: the degraded cultural form of the stoner film. Stoner films plot the experiences of the wasted (those intoxicated on marijuana) as they exhibit wastefulness—excessiveness, improvidence, decay—on a number of fronts. Stoners waste time in constantly hunting for pot and in failing to pursue more productive activity whilst wasted. Stoners waste their minds, both literally, if we believe contested studies that indicate marijuana smoking kills brains cells, and figuratively, in rendering themselves cognitively impaired. Stoners waste their bodies through the dangerous practice of smoking and through the tendency toward physical inertia. Stoners waste money on marijuana firstly, but also on such sophomoric accoutrements as the stoner film itself. Stoners lay waste to convention in excessively seeking pleasure and in dressing and acting outrageously. And stoners, if the scatological humour of so many stoner films is any index, are preoccupied with bodily waste. Stoners, we argue here, waste whiteness as well. As the likes of Jesse and Chester (Dude, Where’s My Car?), Wayne and Garth (Wayne’s World), Bill and Ted (Bill and Ted’s Excellent Adventure) and Jay and Silent Bob (Jay and Silent Bob Strike Back) make clear, whiteness looms large in stoner films. Yet the genre, we argue, disavows its own whiteness, in favour of a post-white hybridity that lavishly squanders white privilege. For all its focus on whiteness, filmic wastedness has always been an ethnically diverse and ambiguous category. The genre’s origins in the work of Cheech Marin, a Chicano, and Tommy Chong, a Chinese-European Canadian, have been buttressed in this regard by many African American contributions to the stoner oeuvre, including How High, Half Baked and Friday, as well as by Harold and Kumar Go to White Castle, and its Korean-American and Indian-American protagonists. Cheech and Chong initiated the genre with the release of Up in Smoke in 1978. A host of films have followed featuring protagonists who spend much of their time smoking and seeking marijuana (or—in the case of stoner films such as Dude, Where’s My Car? released during the height of the War on Drugs—acting stoned without ever being seen to get stoned). Inspired in part by the 1938 anti-marijuana film Reefer Madness, and the unintended humour such propaganda films begat amongst marijuana smokers, stoner films are comedies that satirise both marijuana culture and its prohibition. Self-consciously slapstick, the stoner genre excludes more serious films about drugs, from Easy Rider to Shaft, as well as films such as The Wizard of Oz, Yellow Submarine, the Muppet movies, and others popular amongst marijuana smokers because of surreal content. Likewise, a host of films that include secondary stoner characters, such as Jeff Spicoli in Fast Times at Ridgemont High and Wooderson in Dazed and Confused, are commonly excluded from the genre on the grounds that the stoner film, first and foremost, celebrates stonerism, that is “serious commitment to smoking and acquiring marijuana as a lifestyle choice.” (Meltzer). Often taking the form of the “buddy film,” stoner flicks generally feature male leads and frequently exhibit a decidedly masculinist orientation, with women, for the most part reduced to little more than the object of the white male gaze.The plot, such as it is, of the typical stoner film concerns the search for marijuana (or an accessory, such as junk food) and the improbable misadventures that ensue. While frequently represented as resourceful and energetic in their quest for marijuana, filmic stoners otherwise exhibit ambivalent attitudes toward enterprise that involves significant effort. Typically represented as happy and peaceable, filmic stoners rarely engage in conflict beyond regular clashes with authority figures determined to enforce anti-drug laws, and other measures that stoners take to be infringements upon happiness. While Hollywood’s stoners thus share a sense of entitlement to pleasure, they do not otherwise exhibit a coherent ideological orthodoxy beyond a certain libertarian and relativistic open-mindedness. More likely to take inspiration from comic book heroes than Aldous Huxley or Timothy Leary, stoners are most often portrayed as ‘dazed and confused,’ and could be said to waste the intellectual tradition of mind expansion that Leary represents. That stoner films are, at times, misunderstood to be quintessentially white is hardly suprising. As a social construct that creates, maintains and legitimates white domination, whiteness manifests, as one of its most defining features, an ability to swallow up difference and to insist upon, at critical junctures, a universal subjectivity that disallows for difference (hooks 167). Such universalising not only sanctions co-optation of ethnic cultural expression, it also functions to mask whiteness’s existence, thus reinforcing its very power. Whiteness, as Richard Dyer argues, is simultaneously everywhere and nowhere. It obfuscates itself and its relationship to the particular traits it is said to embody—disinterest, prudence, temperance, rationality, bodily restraint, industriousness (3). Whiteness is thus constructed as neither an ethnic nor racial particularity, but rather the transcendence of such positionality (Wiegman 139). While non-whites are raced, to be white is to be “just human” and thus to possess the power to “claim to speak for the commonality of humanity” whilst denying the accrual of any particular racial privilege (Dyer 2). In refuting its own advantages—which are so wide ranging (from preferential treatment in housing loans, to the freedom to fail without fear of reflecting badly on other whites) that they are, like whiteness itself, both assumed and unproblematic—whiteness instantiates individualism, allowing whites to believe that their successes are in no way the outcome of systematic racial advantage, but rather the product of individual toil (McIntosh; Lipsitz). An examination of the 1978 stoner film Up in Smoke suggests that whatever the ethnic ambiguity of the figure of the stoner, the genre of the stoner film is all about the wasting of whiteness. Up in Smoke opens with two alternating domestic scenes. We first encounter Pedro De Pacas (Cheech Marin) in a cluttered and shadowy room as his siblings romp affectionately upon his back, waking him from his slumber on the couch. Pedro rises, stepping into a bowl of cereal on the floor. He stumbles to the bathroom, where, sleepy and disoriented, he urinates into the laundry hamper. The chaos of Pedro’s disrupted sleep is followed in the film by a more metaphoric awakening as Anthony Stoner (Tommy Chong) determines to leave home. The scene takes place in a far more orderly, light and lavish room. The space’s overpowering whiteness is breached only by the figure of Anthony and his unruly black hair, bushy black beard, and loud Hawaiian shirt, which vibrates with colour against the white walls, white furnishings and white curtains. We watch as Anthony, behind an elaborate bar, prepares a banana protein shake, impassively ignoring his parents, both clothed in all-white, as they clutch martini glasses and berate their son for his lack of ambition. Arnold Stoner [father]: Son, your mother and me would like for you to cozy up to the Finkelstein boy. He's a bright kid, and, uh... he's going to military school, and remember, he was an Eagle Scout. Tempest Stoner [mother]: Arnold…Arnold Stoner: [shouts over/to his wife] Will you shut up? We’re not going to have a family brawl!Tempest Stoner: [continues talking as her husband shouts]…. Retard.Arnold Stoner: [to Anthony] We've put up with a hell of a lot.[Anthony starts blender] Can this wait? ... Build your goddamn muscles, huh? You know, you could build your muscles picking strawberries.You know, bend and scoop... like the Mexicans. Shit, maybe I could get you a job with United Fruit. I got a buddy with United Fruit. ... Get you started. Start with strawberries, you might work your way up to these goddamn bananas! When, boy? When...are you going to get your act together?Anthony: [Burps]Tempest Stoner: Gross.Arnold Stoner: Oh, good God Almighty me. I think he's the Antichrist. Anthony, I want to talk to you. [Anthony gathers his smoothie supplements and begins to walk out of the room.] Now, listen! Don't walk away from me when I'm talking to you! You get a goddamn job before sundown, or we're shipping you off to military school with that goddamn Finkelstein shit kid! Son of a bitch!The whiteness of Anthony’s parents is signified so pervasively and so strikingly in this scene—in their improbable white outfits and in the room’s insufferably white décor—that we come to understand it as causative. The rage and racism of Mr. Stoner’s tirade, the scene suggests, is a product of whiteness itself. Given that whiteness achieves and maintains its domination via both ubiquity and invisibility, what Up in Smoke accomplishes in this scene is notable. Arnold Stoner’s tortured syntax (“that goddamn Finkelstein shit kid”) works to “mak[e] whiteness strange” (Dyer 4), while the scene’s exaggerated staging delineates whiteness as “a particular – even peculiar – identity, rather than a presumed norm” (Roediger, Colored White 21). The belligerence of the senior Stoners toward not only their son and each other, but the world at large, in turn, functions to render whiteness intrinsically ruthless and destructive. Anthony’s parents, in all their whiteness, enact David Roediger’s assertion that “it is not merely that ‘Whiteness’s is oppressive and false; it is that ‘Whiteness’s is nothing but oppressive and false” (Toward the Abolition 13).Anthony speaks not a word during the scene. He communicates only by belching and giving his parents the finger as he leaves the room and the home. This departure is significant in that it marks the moment when Anthony, hereafter known only as “Man,” flees the world of whiteness. He winds up taking refuge in the multi-hued world of stonerism, as embodied in the scene that follows, which features Pedro emerging from his home to interact with his Chicano neighbours and to lovingly inspect his car. As a lowrider, a customised vehicle that “begin[s] with the abandoned materials of one tradition (that of mainstream America), … [and is] … then transformed and recycled . . . into new and fresh objects of art which are distinctly Chicano,” Pedro’s car serves as a symbol of the cultural hybridisation that Man is about to undergo (quoted in Ondine 141).As Man’s muteness in the presence of his parents suggests, his racial status seems tentative from the start. Within the world of whiteness, Man is the subaltern, silenced and denigrated, finding voice only after he befriends Pedro. Even as the film identifies Man as white through his parental lineage, it renders indeterminate its own assertion, destabilising any such fixed or naturalised schema of identity. When Man is first introduced to Pedro’s band as their newest member, James, the band’s African American bass player, looks at Man, dressed in the uniform of the band, and asks: “Hey Pedro, where’s the white dude you said was playing the drums?” Clearly, from James’s point of view, the room contains no white dudes, just stoners. Man’s presumed whiteness becomes one of the film’s countless gags, the provocative ambiguity of the casting of a Chinese-European to play a white part underscored in the film by the equally implausible matter of age. Man, according to the film’s narrative, is a high school student; Chong was forty when the film was released. Like his age, Man’s whiteness is never a good fit. That Man ultimately winds up sleeping on the very couch upon which we first encounter Pedro suggests how radical and final the break with his dubious white past is. The “Mexicans” whom his father would mock as fit only for abject labour are amongst those whom Man comes to consider his closest companions. In departing his parents’ white world, and embracing Pedro’s dilapidated, barrio-based world of wastedness, Man traces the geographies narrated by George Lipsitz in The Possessive Investment in Whiteness. Historically, Lipsitz argues, the development of affluent white space (the suburbs) was made possible by the disintegration of African American, Chicano and other minority neighbourhoods disadvantaged by federal, state, and corporate housing, employment, health care, urban renewal, and education policies that favoured whites over non-whites. In this sense, Man’s flight from his parents’ home is a retreat from whiteness itself, and from the advantages that whiteness conveys. In choosing the ramshackle, non-white world of stonerism, Man performs an act of racial treachery. Whiteness, Lipsitz contends, has “cash value,” and “is invested in, like property, but it is also a means of accumulating property and keeping it from others,” which allows for “intergenerational transfers of inherited wealth that pass on the spoils of discrimination to succeeding generations” (vii-viii). Man’s disavowal of the privileges of whiteness is a reckless refusal to accept this racial birthright. Whiteness is thus wasted upon Man because Man wastes his whiteness. Given the centrality of prudence and restraint to hegemonic constructions of whiteness, Man’s willingness to squander the “valuable asset” that is his white inheritance is especially treasonous (Harris 1713). Man is the prodigal son of whiteness, a profligate who pours down the drain “the wages of whiteness” that his forbearers have spent generations accruing and protecting (Roediger, The Wages of Whiteness). His waste not only offends the core values which whiteness is said to comprise, it also denigrates whiteness itself by illuminating the excess of white privilege, as well as the unarticulated excess of meanings that hover around whiteness to create the illusion of transcendence and infinite variety. Man’s performance, like all bad performances of whiteness, “disrupt[s] implicit understandings of what it means to be white” (Hartigan 46). The spectre of seeing white domination go ‘up in smoke’—via wasting, as opposed to hoarding, white privilege—amounts to racial treason, and helps not only to explicate why whites in the film find stonerism so menacing, but also to explain the paradox of “pot [making] the people who don’t smoke it even more paranoid than the people who do” (Patterson). While Tommy Chong’s droll assertion that "what makes us so dangerous is that we're harmless" ridicules such paranoia, it ultimately fails to account for the politics of subversive squandering of white privilege that characterise the stoner film (“Biographies”). Stoners in Up in Smoke, as in most other stoner films, are marked as non-white, through association with ethnic Others, through their rejection of mainstream ideas about work and achievement, and/or through their lack of bodily restraint in relentlessly seeking pleasure, in dressing outrageously, and in refusing to abide conventional grooming habits. Significantly, the non-white status of the stoner is both voluntary and deliberate. While stonerism embraces its own non-whiteness, its Otherness is not signified, primarily, through racial cross-dressing of the sort Eric Lott detects in Elvis, but rather through race-mixing. Stoner collectivity practices an inclusivity that defies America’s historic practice of racial and ethnic segregation (Lott 248). Stonerism further reveals its unwillingness to abide constrictive American whiteness in a scene in which Pedro and Man, both US-born Americans, are deported. The pair are rounded up along with Pedro’s extended family in a raid initiated when Pedro’s cousin “narcs” on himself to la migra (the Immigration and Naturalization Service) in order to get free transport for his extended family to his wedding in Tijuana. Pedro and Man return to the US as unwitting tricksters, bringing back to the US more marijuana than has ever crossed the Mexican-US border at one time, fusing the relationship between transnationalism and wastedness. The disrespect that stoners exhibit for pregnable US borders contests presumed Chicano powerlessness in the face of white force and further affronts whiteness, which historically has mobilised itself most virulently at the threat of alien incursion. Transgression here is wilful and playful; stoners intend to offend normative values and taste through their actions, their dress, and non-white associations as part of the project of forging a new hybridised, transnational subjectivity that threatens to lay waste to whiteness’s purity and privilege. Stoners invite the scrutiny of white authority with their outrageous attire and ethnically diverse composition, turning the “inevitability of surveillance” (Borrie 87) into an opportunity to enact their own wastedness—their wasted privilege, their wasted youth, their wasted potential—before a gaze that is ultimately confounded and threatened by the chaotic hybridity with which it is faced (Hebdige 26). By perpetually displaying his/her wasted Otherness, the stoner makes of him/herself a “freak,” a label cops use derisively throughout Up in Smoke to denote the wasted without realising that stoners define themselves in precisely such terms, and, by doing so, obstruct whiteness’s assertion of universal subjectivity. Pedro’s cousin Strawberry (Tom Skerritt), a pot dealer, enacts freakishness by exhibiting a large facial birthmark and by suffering from Vietnam-induced Post Traumatic Stress disorder. A freak in every sense of the word, Strawberry is denied white status by virtue of physical and mental defect. But Strawberry, as a stoner, ultimately wants whiteness even less than it wants him. The defects that deny him membership in the exclusive “club” that is whiteness prove less significant than the choice he makes to defect from the ranks of whiteness and join with Man in the decision to waste his whiteness wantonly (“Editorial”). Stoner masculinity is represented as similarly freakish and defective. While white authority forcefully frustrates the attempts of Pedro and Man to “score” marijuana, the duo’s efforts to “score” sexually are thwarted by their own in/action. More often than not, wastedness produces impotence in Up in Smoke, either literally or figuratively, wherein the confusion and misadventures that attend pot-smoking interrupt foreplay. The film’s only ostensible sex scene is unconsummated, a wasted opportunity for whiteness to reproduce itself when Man sleeps through his girlfriend’s frenzied discussion of sex. During the course of Up in Smoke, Man dresses as a woman while hitchhiking, Pedro mistakes Man for a woman, Man sits on Pedro’s lap when they scramble to change seats whilst being pulled over by the police, Man suggests that Pedro has a “small dick,” Pedro reports liking “manly breasts,” and Pedro—unable to urinate in the presence of Sgt. Stedenko—tells his penis that if it does not perform, he will “put [it] back in the closet.” Such attenuations of the lead characters’ masculinity climax in the penultimate scene, in which Pedro, backed by his band, performs “Earache My Eye,” a song he has just composed backstage, whilst adorned in pink tutu, garter belt, tassle pasties, sequined opera mask and Mickey Mouse ears: My momma talkin’ to me tryin’ to tell me how to liveBut I don't listen to her cause my head is like a sieveMy daddy he disowned me cause I wear my sister's clothesHe caught me in the bathroom with a pair of pantyhoseMy basketball coach he done kicked me off the teamFor wearing high heeled sneakers and acting like a queen“Earache My Eye” corroborates the Othered natured of stonerism by marking stoners, already designated as non-white, as non-straight. In a classic iteration of a bad gender performance, the scene rejects both whiteness and its hegemonic partners-in-crime, heterosexuality and normative masculinity (Butler 26). Here stoners waste not only their whiteness, but also their white masculinity. Whiteness, and its dependence upon “intersection … [with] interlocking axes [of power such as] gender … [and] sexuality,” is “outed” in this scene (Shome 368). So, too, is it enfeebled. In rendering masculinity freakish and defective, the film threatens whiteness at its core. For if whiteness can not depend upon normative masculinity for its reproduction, then, like Man’s racial birthright, it is wasted. The stoner’s embodiment of freakishness further works to emphasise wasted whiteness by exposing just how hysterical whiteness’s defense of its own normativity can be. Up in Smoke frequently inflates not only the effects of marijuana, but also the eccentricities of those who smoke it, a strategy which means that much of the film’s humour turns on satirising hegemonic stereotypes of marijuana smokers. Equally, Cheech Marin’s exaggerated “slapstick, one-dimensional [portrayal] of [a] Chicano character” works to render ridiculous the very stereotypes his character incarnates (List 183). While the film deconstructs processes of social construction, it also makes extensive use of counter-stereotyping in its depictions of characters marked as white. The result is that whiteness’s “illusion of [its] own infinite variety” is contested and the lie of whiteness as non-raced is exposed, helping to explain the stoner’s decision to waste his/her whiteness (Dyer 12; 2). In Up in Smoke whiteness is the colour of straightness. Straights, who are willing neither to smoke pot nor to tolerate the smoking of pot by others/Others, are so comprehensively marked as white in the film that whiteness and straightness become isomorphic. As a result, the same stereotypes are mobilised in representing whiteness and straightness: incompetence, belligerence, hypocrisy, meanspiritedness, and paranoia, qualities that are all the more oppressive because virtually all whites/straights in the film occupy positions of authority. Anthony’s spectacularly white parents, as we have seen, are bigoted and dominating. Their whiteness is further impugned by alcohol, which fuels Mr. Stoner’s fury and Mrs. Stoner’s unintelligibility. That the senior Stoners are drunk before noon works, of course, to expose the hypocrisy of those who would indict marijuana use while ignoring the social damage alcohol can produce. Their inebriation (revealed as chronic in the DVD’s outtake scenes) takes on further significance when it is configured as a decidedly white attribute. Throughout the film, only characters marked as white consume alcohol—most notably, the judge who is discovered to be drinking vodka whist adjudicating drug charges against Pedro and Man—therefore dislodging whiteness’s self-construction as temperate, and suggesting just how wasted whiteness is. While stonerism is represented as pacific, drunkenness is of a piece with white/straight bellicosity. In Up in Smoke, whites/straights crave confrontation and discord, especially the angry, uptight, and vainglorious narcotics cop Sgt. Stedenko (Stacey Keech) who inhabits so many of the film’s counter-stereotypes. While a trio of white cops roughly apprehend and search a carload of innocent nuns in a manner that Man describes as “cold blooded,” Stedenko, unawares in the foreground, gives an interview about his plans for what he hopes will be the biggest border drug bust in US history: “[Reporter:] Do you expect to see any violence here today? [Sgt. Stedenko:] I certainly hope so.” Stedenko’s desire to act violently against stoners echoes mythologies of white regeneration in the Old West, wherein whiteness refurbished itself through violent attacks on Native Americans, whose wasteful cultures failed to make “civilised” use of western lands (Slotkin 565).White aggression is relentlessly depicted in the film, with one important exception: the instance of the stoned straight. Perhaps no other trope is as defining of the genre, as is the scene wherein a straight person accidentally becomes stoned. Up in Smoke offers several examples, most notably the scene in which a motorcycle cop pulls over Pedro and Man as they drive a van belonging to Pedro’s Uncle Chuey. In a plot twist requiring a degree of willing suspension of disbelief that even wasted audiences might find a stretch, the exterior shell of the van, unbeknownst to Pedro and Man, is made entirely of marijuana which has started to smoulder around the exhaust pipe. The cop, who becomes intoxicated whilst walking through the fumes, does not hassle Pedro and Man, as expected, but instead asks for a bite of their hot dog and then departs happily, instructing the duo to “have a nice day.” In declining, or perhaps simply forgetting, to exercise his authority, the cop demonstrates the regenerative potential not of violent whiteness but rather of hybrid wastedness. Marijuana here is transformative, morphing straight consciousness into stoner consciousness and, in the process, discharging all the uptight, mean-spirited, unnecessary, and hence wasteful baggage of whiteness along the way. While such a utopian potential for pot is both upheld and satirised in the film, the scene amounts to far more than an inconsequential generic gag, in that it argues for the disavowal of whiteness via the assumption of the voluntary Otherness that is stonerism. Whiteness, the scene suggests, can be cast off, discarded, wasted and thus surmounted. Whites, for want of a better phrase, simply need to ‘just say no’ to whiteness in order to excrete the brutality that is its necessary affliction and inevitable result. While Up in Smoke laudably offers a powerful refusal to horde the assets of whiteness, the film fails to acknowledge that ‘just saying no’ is, indeed, one of whiteness’s exclusive privileges, since whites and only whites possess the liberty to refuse the advantages whiteness bestows. Non-whites possess no analogical ability to jettison the social constructions to which they are subjected, to refuse the power of dominant classes to define their subjectivity. Neither does the film confront the fact that Man nor any other of Up in Smoke’s white freaks are disallowed from re-embracing their whiteness, and its attendant value, at any time. However inchoate the film’s challenge to racial privilege, Up in Smoke’s celebration of the subversive pleasures of wasting whiteness offers a tentative, if bleary, first step toward ‘the abolition of whiteness.’ Its utopian vision of a post-white hybridised subjectivity, however dazed and confused, is worthy of far more serious contemplation than the film, taken at face value, might seem to suggest. Perhaps Up in Smoke is a stoner film that should also be viewed while sober. ReferencesBill and Ted’s Excellent Adventure. Dir. Stephen Herek. Orion Pictures Corporation, 1989.“Biographies”. 10 June 2010 ‹http://www.cheechandchongfans.com/biography.html›. Borrie, Lee. "Wild Ones: Containment Culture and 1950s Youth Rebellion”. Diss. University of Canterbury, 2007.Butler, Judith. "Critically Queer”. GLQ: A Journal of Lesbian and Gay Studies 1.1 (1993): 17-32.Chavoya, C. Ondine. “Customized Hybrids: The Art of Ruben Ortiz Torres and Lowriding in Southern California”. 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