Journal articles on the topic 'Crooks, Daniel'

The counterintuitive phenomenon of quantum superposition requires a radical review of our ideas of reality. The author suggests that translations of quantum concepts into visual art may assist in provoking such a revision. This essay first introduces the concept of quantum superposition and points out its divergence from conventional perceptions of reality. The author then discusses how visual art might provide insight into quantum superposition. Finally she discusses the visual representation of quantum superposition by contemporary artists Jonathon Keats, Julian Voss-Andreae, Antony Gormley and Daniel Crooks; the problematic and paradoxical nature of such representations; and how these works might provoke a revision of our views of physical reality.

Abstract This article considers the way chemist William Crookes utilized the editorship of the Quarterly Journal of Science to promote the scientific importance of spirit phenomena. It explores the publishing of Crookes’s series of sensational articles that investigated the ‘Psychic Force’, a purported force of nature that Crookes discovered during experiments with the medium Daniel Dunglas Home. Crookes thus used the platform afforded to him in the journal to describe his experiments and present his evidence within the framework of an orthodox scientific discourse. While Crookes endured much criticism from certain scientific men, the serial format of his investigation meant that he was able to generate a great deal of interest. It also meant that his subsequent articles in the series could respond to critics by adjusting his experiments, overcoming perceived difficulties, and providing his readers with new and exciting details concerning his ongoing investigation as it was being conducted.

of our Lord the King, holden at the Town Court-House near Westminster-Hall, in and for the Liberty of the Dean and Chapter of the Collegiate Church of St. Peter, Westminster, the City, Borough, and Town of Westminster, in the County of Middlesex, and St. Martin le Grand, London, on Thursday the Twentyninth Day of June, in the Twenty-third Tear of the Reign of our Sovereign Lord George the Second, King of Great-Britain, &c. before Henry Fielding, Esq; the Right Hon. George Lord Carpenter, Sir John Crosse, Baronet, George Huddleston, James Crofts, Gabriel Fowace, John Upton, Thomas Ellys, Thomas Smith, George Payne, William Walmsley, William Young, Peter Elers, Martin Clare, Thomas Lediard, Henry Trent, Daniel Gach, James Fraser, Esquires, and others their fellows, Justices of our said Lord the King, assigned to keep the Peace of the said Liberty, and also to hear and determine divers Felonies, Trespasses, and other Misdeeds done and committed within the said Liberty.

Glutamine:fructose-6-phosphate aminotransferase (GFAT; EC 2.6.1.16) expression is tightly regulated in the context of amino sugar synthesis in many organisms from yeast to humans by transcriptional and post-translational processes. We have cloned the cDNA of the GFAT1 of Drosophila melanogaster (Dmel/Gfat1). One of the two putative protein kinase A (PKA) phosphorylation sites proposed for the regulation of human GFAT1 [Zhou, Huynh, Hoffmann, Crook, Daniels, Gulve and McClain (1998) Diabetes 47, 1836–1840] is conserved in Dmel/GFAT1. In the other one the reactive serine has been converted to a cysteine, making further access by PKA unlikely. The Dmel/Gfat1 gene is localized at position 81F on the right arm of chromosome 3. By whole-mount in situ hybridization specific expression of Dmel/GFAT1 was detected in embryonic chitin-synthesizing tissues and in the corpus cells of salivary glands from late third larval instar. Expressing Dmel/GFAT1 in yeast we showed that Dmel/GFAT1 activity is controlled by UDP-N-acetylglucosamine and PKA in the yeast total protein extract system. We propose a model for the independent regulation of the Dmel/GFAT1 enzyme by feedback inhibition and PKA.

BackgroundCurrent techniques to monitor clinical response may require several days and centralised facilities, which may cause delays in effective therapeutic decisions. Therefore, the use of a rapid decentralized test will facilitate patient management and improve patient care.ObjectivesThe goal of this study was to validate the use of capillary blood in a real point-of-care (POC) setting for rheumatic patients under infliximab treatment by using Promonitor Quick lateral flow (LF) tests. Results were compared to the Promonitor ELISA reference technique in serum samples used by centralised laboratories.MethodsA prospective, observational study was designed to evaluate the performance of a rapid LF test (Promonitor Quick IFX, Progenika, Spain). 160 infliximab treated rheumatology consecutive patients (400 samples) were recruited in two hospitals in Galicia, Spain. Prior to the infusion, a finger prick sample was obtained and analysed. Anti-infliximab antibodies were also determined with Promonitor Quick ANTI-IFX1-4. Results were read with the automated portable PQreader instrument. Additionally, a serum sample was collected for subsequent comparative analysis with either LF or ELISA tests.Qualitative (positive (PPA) and negative (NPA) agreements) and quantitative (Pearson correlation and bias) performance of the LF test was compared to ELISA, as well as between different specimens following CLSI EP09-A3.ResultsOverall agreement between Promonitor Quick IFX finger prick and ELISA test was 91% (88% PPA; 100% NPA). The quantitative comparison showed a good correlation (Pearson correlation coefficient: 0.85 and observed bias: 25%) (Table 1).Table 1.Performance results: infliximab drugQualitative ComparisonN*PPANPAoverallPOC finger prick vs ELISA27488%100%91%POC serum vs ELISA28198%100%98%Quantitative ComparisonN*Pearson correlationBiasPOC finger prick vs ELISA1650.8525%POC serum vs ELISA1810.916%*Only samples in the common measurement range for both methods considered.Performance results: anti-infliximab anti-drug antibodiesQualitative ComparisonN*PPANPAoverallPOC finger prick visual vs. PQreader396100%99%99%POC serum visual vs PQreader398100%100%100%POC finger prick PQreader vs ELISA39390%99%98%POC serum PQreader vs ELISA39589%100%99%Similar results were also observed when serum was used with either the LF or the ELISA tests (98% overall agreement, 0.91 correlation coefficient; 6% bias) (Table 1).Overall agreements for visual and automated (PQreader) interpretations with Promonitor Quick ANTI-IFX were 99% and 100% for finger prick and serum specimens, respectively (Table 1).ConclusionPromonitor Quick can be used to reliably quantify infliximab in capillary blood samples and results are comparable to those obtained with the reference ELISA technique. The use of the rapid POC test with finger prick will allow clinicians to monitor their patients in a fully decentralized mode to aid in the decision making process. PQreader is a sensitive portable equipment to report drug as well as antibody levels in the patient samples.References[1]Atreya, R. et al. J Crohns Colitis. 2019;13:S391[2]Ametzazurra, A. et al. J Crohns Colitis. 2017;11:S335-S336[3]Fiorino, G. et al. J Crohns Colitis. 2017;11:S388[4]Facchin, A. et al. J Crohns Colitis. 2019;13:S349- S350Disclosure of InterestsM. Begoña Ruiz-Argüello Employee of: Employee of Progenika Biopharma - Grifols, Javier Pascual Employee of: Employee of Progenika Biopharma - Grifols, Lorena Del Rio Employee of: Employee of Progenika Biopharma - Grifols, Ane Urigoitia Employee of: Employee of Progenika Biopharma - Grifols, Cristina Balo-Farto: None declared, Carlos Fernández-López: None declared, ANTONIO MERA VARELA: None declared, Francisco Javier de-Toro-Santos: None declared, Daniel Nagore Employee of: Employee of Progenika Biopharma - Grifols, Amagoia Ametzazurra Employee of: Employee of Progenika Biopharma - Grifols

Abstract Background: The CaPTC prostate cancer (CaP) Familial Cohort study (CaPFCS) was launched in 2017 to explore the CaP risk factors of African Black men (ABM). The study design is a prospective study that observes and follows healthy ABM and ABM diagnosed with CaP. Aim: The specific aim is to provide recommendations on statistical considerations for cohort studies focused on cancer disparities, based on lessons learned from the CaPTC CaPFCS. Methodology: Study participants were ABM in Cameroon, Nigeria, and the US. Using validated measures, data were collected mostly by self-administered or research assistant administered survey using paper survey (especially in Cameroon and Nigeria) with the responses transferred to REDCap by research coordinators. The statistical analysis for the CaPTC CaPFCS focused on the baseline epidemiological, behavioral, clinical and anthropometric measures of Black men. A total of 819 participants were included in the analyses. Statistical analyses included descriptive statistics (sample median, range, frequency and percentages) and unadjusted logistic regression models. Results: Data collection for the CaPTC CaPFCS were by multiple investigators/research coordinators at multiple sites in Cameroon, Nigeria, and the US. In preparation for the data analyses, we noted data entry errors and/or misinterpretation of data entry, which required extensive cleaning of the database prior to the analyses. The biostatisticians spent significant effort cleaning and ensuring data validity prior to the analyses. Confounding variables is another statistical consideration for cohort studies, such as the CaPTC CaPFCS. There was variability observed across age, education levels, employment status, household income and CaP diagnosis based on country of residence. CaP diagnosis was not reported by any of the ABM in the US, which may be due to the fact that they were all recruited within the community and no recruitment took place in the clinic. Finally, the CaPTC CaPFCS has several variables. Performing a lot of statistical tests may result in false-positive findings at P<0.05. Conclusion: The advantage of the CaPFCS is that it allows the CaPTC investigators to study epidemiological, behavioral, clinical and anthropometric variables associated with CaP over time. Being a longitudinal cohort study, investigators can track the changes in exposure and outcomes over time.However, statistical considerations need to be at the fore-front of multi-center, transatlantic cancer disparity studies such as the CaPTC CaPFCS, from data collection to data entry. The use of web-based survey with the ability to enter data directly into REDCaP will significantly reduce (if not totally eliminate) the need for database cleaning. There are multiple strategies that can be used to reduce confounder effect, including statistical adjustment and multivariate analysis to adjust for the confounders. The use of propensity score methods have especially been found to be effective in controlling baseline confounding factors. Citation Format: Daniel Lee, Michael Heckman, Zhongwei Peng, Emeka Iweala, Ademola Popoola, Paul Jibrin, Mohammed Faruk, Anthonia Sowumi, Omolara Fatiregun, Nkegoum Blaise, Catherine Oladoyinbo, Ifeoma Okoye, Abdulkadir Ayo Salako, Abidemi Omonisi, Iya Eze Bassey, Kayode Adeniji, Nggada Haruna Asura, Ernest Kaninjing, Oluwole Kukoyi, Fathi Parisa, Ruth Enuka, Oluwaseyi Toye, Jennifer Crook, CaPTC Investigators, Folakemi Odedina. Importance of statistical considerations in multi-center, transatlantic cancer disparity studies: Lessons learned from the CaPTC prostate cancer familial cohort study [abstract]. In: Proceedings of the 15th AACR Conference on the Science of Cancer Health Disparities in Racial/Ethnic Minorities and the Medically Underserved; 2022 Sep 16-19; Philadelphia, PA. Philadelphia (PA): AACR; Cancer Epidemiol Biomarkers Prev 2022;31(1 Suppl):Abstract nr C004.

Research Articles Composition and Dynamics of Migratory and Resident Avian Population in Wintering Wetlands from Northern India PDF Kaushalendra Kumar JHA, Craig R. MCKINLEY 1-15 MtDNA Barcode Identification of Finfish Larvae from Vellar Estuary, Tamilnadu, India PDF Ramakrishnan THIRUMARAISELVI, Sourin DAS, Vellaichamy RAMANADEVI, Muthusamy THANGARAJ 16-19 Isolation and Detection of Methicillin-Resistant Staphylococci in Healthy Broilers in Nsukka Southeast, Nigeria PDF Ifeoma Chinyere UGWU, Madubuike Umunna ANYANWU, Chidozie Clifford UGWU, Jude Chukwuemeka OKORO 20-25 Heterogeneity of Soil and Vegetation in the Urban Habitats of New Industrial Cities in the Desert Landscape of Egypt PDF Monier Abd EL-GHANI, Reinhard BORNKAMM, Nadia EL-SAWAF, Hamdiya TURKY 26-36 Responses to Environmental Stress in Plants Adapted to Mediterranean Gypsum Habitats PDF Josep V. LLINARES, Inmaculada BAUTISTA, Maria del Pilar DONAT, Antonio LIDON, Cristina LULL, Olga MAYORAL, Wankhade SHANTANU, Monica BOSCAIU, Oscar VICENTE 37-44 Biodiversity Status of the Immediate Vicinity of an Iron and Steel Recycling Factory in Ile-Ife, South-Western Nigeria PDF Oludare Oladipo AGBOOLA, Olalekan Oluwatoyosi SALAMI, Stephen OYEDEJI 45-51 Anther Ontogeny and Microsporogenesis in Helianthus annuus L. (Compositae) PDF Aslihan ÇETİNBAŞ, Meral ÜNAL 52-56 Effects of Osmolytic Agents on Somatic Embryogenesis of Saffron (Crocus sativus L.) PDF Maryam VAHEDI, Siamak KALANTARI, Seyed ALIREZA SALAMI 57-61 Simplified Regeneration Protocol for Cycas revoluta Thunb. Mature Zygotic Embryos PDF Rohangiz NADERI, Khadije MOHAISENI, Jaime A. TEIXEIRA DA SILVA, Mansour OMIDI, Behjat NADERI 62-65 Androgenesis Induced in Nicotiana alata and the Effect of Gamma Irradiation PDF Ayman EL-FIKI, Gamal EL-METABTEB, Abdel-Hadi SAYED, Mohamed ADLY 66-71 Combining Ability for Yield and Its Components in Diallel Crosses of Cotton PDF Remzi EKİNCİ, Sema BAŞBAĞ 72-80 Molecular Characterization of Saffron-Potential Candidates for Crop Improvement PDF Javid Iqbal MIR, Nazeer AHMED, Mudasir Hafiz KHAN, Taseem Ahmad MOKHDOMI, Sajad Hussian WANI, Shoiab BUKHARI, Asif AMIN, Raies Ahmad QADRI 81-89 Preparation and Low Temperature Short-term Storage for Synthetic Seeds of Caladium bicolor PDF Mehpara MAQSOOD, Abdul MUJIB, Mir KHUSRAU 90-95 Seed Priming to Overcome Salinity Stress in Persian Cultivars of Alfalfa (Medicago sativa L.) PDF Ali SEPEHRI, Saeed NAJARI, Hossein Reza ROUHI 96-101 Microbial Spoilage, Actions of Preservatives and Phytochemical Screening of Mango (Mangifera indica) Seed Powder PDF Musa Olusegun AREKEMASE, Ganiyu OYEYIOLA, Fathia Oluwatoyin SAAD, Daniel Salem TERWASE 102-110 Weed Interference Effects on Leaves, Internode and Harvest Index of Dry Bean (Phaseolus vulgaris L.) PDF Hossein GHAMARI 111-115 Influence of Modified Atmosphere Packagingon Storability and Postharvest Quality of Cornelian Cherry (Cornus masL.) Fruits PDF Sheida MOHEBBI, Younes MOSTOFI, Zabihallah ZAMANI, Farzaneh NAJAFI 116-122 Minor Volatile Compounds Profiles of ‘Aligoté’ Wines Fermented with Different Yeast Strains PDF Florin VARARU, Jaime MORENO-GARCIA, Juan MORENO, Marius NICULAUA, Bogdan NECHITA, Cătălin ZAMFIR, Cintia COLIBABA, Georgiana-Diana DUMITRU, Valeriu V. COTEA 123-128 Effect of Soaking, Cooking, Germination and Fermentation Processing on Physical Properties and Sensory Evaluation of Sorghum Biscuits PDF Abd El-Moneim M. R. AFIFY, Hossam Saad EL-BELTAGI, Samiha M. ABD EL-SALAM, Azza A. OMRAN 129-135 The Response of Several Plum Cultivars to Natural Infection with Monilinia laxa, Polystigma rubrum and Stigmina carpophila PDF Ioana MITRE jr., Andreea TRIPON, Ioana MITRE, Viorel MITRE 136-139 Consumer Perception Concerning Apple Fruit Quality, Depending on Cultivars and Hedonic Scale of Evaluation - a Case Study PDF Cătălina DAN, Corina ȘERBAN, Adriana F. SESTRAŞ, Mădălina MILITARU, Paula MORARIU, Radu E. SESTRAŞ 140-149

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). Indo-English Literature in the Nineteenth Century, Mysore: Literary Half-yearly, University of Mysore, University of Mysore Press. Amanuddin, Syed. (2016 [1990]). “Don’t Call Me Indo-Anglian”. C. D. Narasimhaiah (Ed.), An Anthology of Commonwealth Poetry. Bengaluru: Trinity Press. B A (Compiler). (1883). Indo-Anglian Literature. Calcutta: Thacker, Spink and Co. PDF. Retrieved from: https://books.google.co.in/books?id=rByZ2RcSBTMC&pg=PA1&source= gbs_selected_pages&cad=3#v=onepage&q&f=false ---. (1887). “Indo-Anglian Literature”. 2nd Issue. Calcutta: Thacker, Spink and Co. PDF. Retrieved from: http://www.jstor.org/stable/60238178 Basham, A L. (1981[1954]). The Wonder That Was India: A Survey of the History and Culture of the Indian Sub-Continent before the Coming of the Muslims. Indian Rpt, Calcutta: Rupa. PDF. Retrieved from: https://archive.org/details/TheWonderThatWasIndiaByALBasham Bhushan, V N. (1945). The Peacock Lute. Bomaby: Padma Publications Ltd. Bhushan, V N. (1945). The Moving Finger. Bomaby: Padma Publications Ltd. Boria, Cavellay. (1807). “Account of the Jains, Collected from a Priest of this Sect; at Mudgeri: Translated by Cavelly Boria, Brahmen; for Major C. Mackenzie”. Asiatick Researches: Or Transactions of the Society; Instituted In Bengal, For Enquiring Into The History And Antiquities, the Arts, Sciences, and Literature, of Asia, 9, 244-286. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.104510 Chamber’s Twentieth Century Dictionary [The]. (1971). Bombay et al: Allied Publishers. Print. Chatterjee, Dilip Kumar. (1989). Cousins and Sri Aurobindo: A Study in Literary Influence, Journal of South Asian Literature, 24(1), 114-123. Retrieved from: http://www.jstor.org/ stable/40873985. Chattopadhyay, Dilip Kumar. (1988). A Study of the Works of James Henry Cousins (1873-1956) in the Light of the Theosophical Movement in India and the West. Unpublished PhD dissertation. Burdwan: The University of Burdwan. PDF. Retrieved from: http://ir.inflibnet. ac.in:8080/jspui/bitstream/10603/68500/9/09_chapter%205.pdf. Cobuild English Language Dictionary. (1989 [1987]). rpt. London and Glasgow. Collins Cobuild Advanced Illustrated Dictionary. (2010). rpt. Glasgow: Harper Collins. Print. Concise Oxford English Dictionary [The]. (1961 [1951]). H. W. Fowler and F. G. Fowler. (Eds.) Oxford: Clarendon Press. 4th ed. Cousins, James H. (1921). Modern English Poetry: Its Characteristics and Tendencies. Madras: Ganesh & Co. n. d., Preface is dated April, 1921. PDF. Retrieved from: http://hdl.handle.net/ 2027/uc1.$b683874 ---. (1919) New Ways in English Literature. Madras: Ganesh & Co. 2nd edition. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.31747 ---. (1918). The Renaissance in India. Madras: Madras: Ganesh & Co., n. d., Preface is dated June 1918. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.203914 Das, Sisir Kumar. (1991). History of Indian Literature. Vol. 1. New Delhi: Sahitya Akademi. Encarta World English Dictionary. (1999). London: Bloomsbury. Gandhi, M K. (1938 [1909]). Hind Swaraj Tr. M K Gandhi. Ahmedabad: Navajivan Publishing House. PDF. Retrieved from: www.mkgandhi.org/ebks/hind_swaraj.pdf. Gokak, V K. (n.d.). English in India: Its Present and Future. Bombay et al: Asia Publishing House. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.460832 Goodwin, Gwendoline (Ed.). (1927). Anthology of Modern Indian Poetry, London: John Murray. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.176578 Guptara, Prabhu S. (1986). Review of Indian Literature in English, 1827-1979: A Guide to Information Sources. The Yearbook of English Studies, 16 (1986): 311–13. PDF. Retrieved from: https://www.jstor.org/stable/3507834 Iyengar, K R Srinivasa. (1945). Indian Contribution to English Literature [The]. Bombay: Karnatak Publishing House. PDF. Retrieved from: https://archive.org/details/ indiancontributi030041mbp ---. (2013 [1962]). Indian Writing in English. New Delhi: Sterling. ---. (1943). Indo-Anglian Literature. Bombay: PEN & International Book House. PDF. Retrieved from: https://archive.org/details/IndoAnglianLiterature Longman Dictionary of Contemporary English. (2003). Essex: Pearson. Lyall, Alfred Comyn. (1915). The Anglo-Indian Novelist. Studies in Literature and History. London: John Murray. PDF. Retrieved from: https://archive.org/details/in.ernet. dli.2015.94619 Macaulay T. B. (1835). Minute on Indian Education dated the 2nd February 1835. HTML. Retrieved from: http://www.columbia.edu/itc/mealac/pritchett/00generallinks/macaulay/ txt_minute_education_1835.html Mehrotra, Arvind Krishna. (2003). An Illustrated History of Indian Literature in English. Delhi: Permanent Black. ---. (2003[1992]). The Oxford India Anthology of Twelve Modern Indian Poets. New Delhi: Oxford U P. Minocherhomji, Roshan Nadirsha. (1945). Indian Writers of Fiction in English. Bombay: U of Bombay. Modak, Cyril (Editor). (1938). The Indian Gateway to Poetry (Poetry in English), Calcutta: Longmans, Green. PDF. Retrieved from http://en.booksee.org/book/2266726 Mohanty, Sachidananda. (2013). “An ‘Indo-Anglian’ Legacy”. The Hindu. July 20, 2013. Web. Retrieved from: http://www.thehindu.com/features/magazine/an-indoanglian-legacy/article 4927193.ece Mukherjee, Sujit. (1968). Indo-English Literature: An Essay in Definition, Critical Essays on Indian Writing in English. Eds. M. K. Naik, G. S. Amur and S. K. Desai. Dharwad: Karnatak University. Naik, M K. (1989 [1982]). A History of Indian English Literature. New Delhi: Sahitya Akademi, rpt.New Shorter Oxford English Dictionary on Historical Principles [The], (1993). Ed. Lesley Brown, Vol. 1, Oxford: Clarendon Press.Naik, M K. (1989 [1982]). A History of Indian English Literature. New Delhi: Sahitya Akademi, rpt. Oaten, Edward Farley. (1953 [1916]). Anglo-Indian Literature. In: Cambridge History of English Literature, Vol. 14, (pp. 331-342). A C Award and A R Waller, (Eds). Rpt. ---. (1908). A Sketch of Anglo-Indian Literature, London: Kegan Paul. PDF. Retrieved from: https://ia600303.us.archive.org/0/items/sketchofangloind00oateuoft/sketchofangloind00oateuoft.pdf) Advanced Learner’s Dictionary of Current English. (1979 [1974]). A. S. Hornby (Ed). : Oxford UP, 3rd ed. Oxford English Dictionary [The]. Vol. 7. (1991[1989]). J. A. Simpson and E. S. C. Weiner, (Eds.). Oxford: Clarendon Press, 2nd ed. Pai, Sajith. (2018). Indo-Anglians: The newest and fastest-growing caste in India. Web. Retrieved from: https://scroll.in/magazine/867130/indo-anglians-the-newest-and-fastest-growing-caste-in-india Pandia, Mahendra Navansuklal. (1950). The Indo-Anglian Novels as a Social Document. Bombay: U Press. Payn, James. (1880). An Indo-Anglian Poet, The Gentleman’s Magazine, 246(1791):370-375. PDF. 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(Eds.) (1997). The Vintage Book of Indian Writing 1947 – 1997. London: Vintage. Sampson, George. (1959 [1941]). Concise Cambridge History of English Literature [The]. Cambridge: UP. Retrieved from: https://archive.org/details/in.ernet.dli.2015.18336. Sarma, Gobinda Prasad. (1990). Nationalism in Indo-Anglian Fiction. New Delhi: Sterling. Singh, Kh. Kunjo. (2002). The Fiction of Bhabani Bhattacharya. New Delhi: Atlantic Publishers and Distributors. Spivak, Gayatri Chakravorty. (2012). How to Read a ‘Culturally Different’ Book. An Aesthetic Education in the Era of Globalization, Cambridge, Mass: Harvard University Press. Sturgeon, Mary C. (1916). Studies of Contemporary Poets, London: George G Hard & Co., Retrieved from: https://archive.org/details/in.ernet.dli.2015.95728. Thomson, W S (Ed). (1876). Anglo-Indian Prize Poems, Native and English Writers, In: Commemoration of the Visit of His Royal Highness the Prince of Wales to India. 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Futuristic fiction almost by definition enters into a dialogue with the present as a future past. As a consequence, history haunts even the most inane visions of the future in often quite subtle ways. An excellent prompt to speculate on this issue is provided by Luc Besson's popular film The Fifth Element (1997). Like many science-fiction films, it is about a future troubled by its own promises. It almost goes without saying that while not specifically figured around Y2K, the attention to dates and time in the film combined with its late '90s release date also inscribe it within Millennial anxieties about the end of the world. History plays a series of roles in The Fifth Element. In common with many science-fiction fables, the film stages an inverted fictional genealogy, in which the viewer is actively encouraged to revel in identifying extrapolated features and concerns of the present. This heralds a basic historicity: that is, it invites us to grasp our present as history through its defamiliarisation. Moreover, like another futuristic film of the same year, Gattaca, it is aesthetically marked by the pathos of what might be called millennial "nostalgia for the future" -- that lost utopian real of Modernist aesthetic desire which seems to haunt these "post-post-apocalyptic", Space-Age futures1. This is only enhanced by quoting generously from earlier moments of the science fiction genre (such as Blade Runner). Striking, however, is that despite all of this, everyday America -- globalised and projected two hundred and fifty years hence -- is not so much dystopian or utopian as just ordinary. People still smoke, but filters makes up three-quarters of a cigarette's length; we still get stuck in chaotic traffic, even if it flies above the ground; we still eat Chinese takeaway, only now the restaurants fly to you; and cops still eat take-away at drive-through McDonald's, which are now floating fixtures in the cityscape. That individuals are so stylish (thanks to costume design, everyone is wearing Jean-Paul Gaultier) also seems significant, because this aestheticised ordinariness helps focus attention on the lived time of everyday utopian yearnings. In these ways and more, our contemporary moment is immanent in the film. However, at certain other crucial moments in the film, History is directly presented as an excess. Let me explain. Two hundred and fifty years into the future, a "Supreme Being" -- Leeloo (Milla Jovovich) -- is genetically reconstructed by scientists. Dubbed the missing "fifth element", she belongs to a highly developed extra-terrestrial species who have a protectoral relation to humanity. In the beginning, Leeloo is cut off from human language -- speaking in a tongue that combines a mixture of European dialects with baby-speak (her favourite phrase, as anyone who has seen the film will recall, is "[Big] badda-boo!"). She speaks what a priest in the film calls the "Divine language", "spoken before time was time" -- evoking the theological dream of a universal pre-symbolic language, of a pure speech that speaks the world rather than speaks of it. Her very first English word is "Help!" -- which she reads off a taxi sticker advertisement for starving black orphans. And it is perhaps no accident that she identifies with this future's expropriated. Leeloo is a body cast into marginality. Caged as an exhibit from the moment of her arrival on Earth, with her exotic appearance, wide-eyed wonderment and capacity for mimicry, she displays all the tropes of the infantilised and sexualised Other. Romanticised as a primitivist fantasy, she represents a classically vulnerable redemptive figure2. Two hundred and fifty years into the future, a "Supreme Being" -- Leeloo (Milla Jovovich) -- is genetically reconstructed by scientists. Dubbed the missing "fifth element", she belongs to a highly developed extra-terrestrial species who have a protectoral relation to humanity. In the beginning, Leeloo is cut off from human language -- speaking in a tongue that combines a mixture of European dialects with baby-speak (her favourite phrase, as anyone who has seen the film will recall, is "[Big] badda-boo!"). She speaks what a priest in the film calls the "Divine language", "spoken before time was time" -- evoking the theological dream of a universal pre-symbolic language, of a pure speech that speaks the world rather than speaks of it. Her very first English word is "Help!" -- which she reads off a taxi sticker advertisement for starving black orphans. And it is perhaps no accident that she identifies with this future's expropriated. Leeloo is a body cast into marginality. Caged as an exhibit from the moment of her arrival on Earth, with her exotic appearance, wide-eyed wonderment and capacity for mimicry, she displays all the tropes of the infantilised and sexualised Other. Romanticised as a primitivist fantasy, she represents a classically vulnerable redemptive figure2. Leaving aside for the moment the perhaps inevitably romantic resolution to this predicament, we can interpret this scene as a critique of the Enlightenment pretension to "total History". The "arbitrary" order of alphabetisation, which replaces the seemingly determined disorder of historical narratives, is akin to the Kantian dream of a cosmopolitan state of "universal history". Think, too, of the aging Hegel, writing in 1830: We witness a vast spectacle of events and actions, of infinitely varied constellations of nations, states and individuals, in restless succession. ... Everywhere we see a motley confusion ... But ... we grow weary of particulars and ask ourselves to what end they all contribute. We cannot accept that their significance is exhausted by their own particular ends; everything must be part of a single enterprise. (325-7) Leaving aside for the moment the perhaps inevitably romantic resolution to this predicament, we can interpret this scene as a critique of the Enlightenment pretension to "total History". The "arbitrary" order of alphabetisation, which replaces the seemingly determined disorder of historical narratives, is akin to the Kantian dream of a cosmopolitan state of "universal history". Think, too, of the aging Hegel, writing in 1830: We witness a vast spectacle of events and actions, of infinitely varied constellations of nations, states and individuals, in restless succession. ... Everywhere we see a motley confusion ... But ... we grow weary of particulars and ask ourselves to what end they all contribute. We cannot accept that their significance is exhausted by their own particular ends; everything must be part of a single enterprise. (325-7) If The Fifth Element critiques the universal history lesson, it also revolves around a dialectical relation between past and present. Although the opening scene in late colonial Egypt locates the film's narrative historically, these later scenes suggest a break with conventional, clean historiographical separations between the past and the present5. Leeloo's reading of History implies that embodied historical reception is in a perpetual in-between state. Not only the representation of the past as History but the experience of Time itself becomes less a matter of chronology than of a Freudian retroactivity, a "present past" with everyday variations which belong as much to future possibilities as to what we perceive as the present. The necessary absence of a determinate "past object" (referent) in historical understanding means that historicity is a traumatic process of deferral. In psychoanalytic terms, Leeloo's forced recognition of the unnatural deaths of Others is a traumatic encounter which generates a hole in the symbolic order of Leeloo's "real". Leeloo's traumatised body metaphorically becomes the singular "truth" of the symbolic world6. A global history is in fact nobody's history in particular -- belonging to everybody and nobody. This is the fate of the CD-ROM: a "memory" overwhelmingly composed of media images, and an allegory for our own situation of image saturation (whose stereotypical symbol is the isolated individual glued to a flickering screen). Yet when Leeloo enters history with a kiss, a fragile dialogical exchange in which her own life "story" begins, the fate of media images is to become socialised as part of non-synchronous particular narratives7. The grand "nightmare" of History has become comprehensible through her particular access to universal History -- and the result is an appropriated, ongoing experience with an undisclosed future. The Fifth Element thus presents a distinctly everyday solution to the problem of historical time -- and is this not how media history is experienced? No doubt in the future no less than the present, history will be less a matter of the Past itself, than of the allegorical reverberation of events documented and encountered in the everyday mediasphere. Footnotes Mark Dery recently berated the trend for retro-futurism as a Wallpaper-inspired plot, poised to generate a nostalgia for ironic dreams of fading technological utopias, while revealing the banality of design fashions that demand the ever new. See "Back to the Future", posted to Nettime (5 Sep. 1999) It is also worth noting the sublime role of the Diva in the film, whose pained operatic performance embodies what Slavoj Zizek once called the jouissance of modernity. Humanity's potential will to "creative destruction" has previously been embodied in Gary Oldman's evil business figure of Zorg, who undoubtedly represents the excesses of corporate capitalism (he illustrates his Ayn Rand-style vitalist philosophy at one point by letting a glass fall from his desk and shatter on to the ground: gleefully watching as a team of mechanical robots whiz around the floor sweeping it up, he croons: "see -- a lovely ballet ensues, adding to the great chain of life -- by creating a little destruction, I am in fact encouraging life". See Jean-François Lyotard, The Postmodern Condition: A Report on Knowledge, trans. Geoff Bennington and Brian Massumi. Vol. 10, Theory and History of Literature. Minneapolis: U of Minnesota P, 1984; Jacques Derrida, Spectres of Marx: The State of the Debt, the Work of Mourning, and the New International, trans. Peggy Kamuf. London: Routledge, 1994. Historiographical time can be distinguished from psychoanalytic time on the basis of two different ways of organising the space of memory. While the former conceives the temporal relation as one of succession and correlation, the latter treats the relation as one of imbrication and repetition. Michel de Certeau, Heterologies: Discourse on the Other. Translated by Brian Massumi. Vol. 17, Theory and History of Literature. Minneapolis: U of Minnesota P, 1986. 4. An interesting sf intertext here is Andrei Tarkovsky's Solaris, in which a woman who is a projection of a man's memory unsuccessfully attempts to kill herself to prove that she is made of historical reality. In this traumatic scene, she consumes liquid nitrogen and writhes on a metallic floor in a frozen state until she gradually thaws into human movement. Leeloo is finally brought into the "un-Historical" time of everyday embodied subjectivity with a single kiss. To borrow the language of psychoanalytic film studies, her "screen memories" are reconfigured by an imaginary resolution in the present. I use the term screen memories with a nod to both the computer screen and Freud's compelling if problematic account of repressed mnemic material. Freud writes: "As the indifferent memories owe their preservation not to their own content but to an associative relation between their content and another which is repressed, they have some claim to be called 'screen memories'". Sigmund Freud, The Psychopathology of Everyday Life. Vol. 5, The Pelican Freud Library. Harmondsworth: Penguin, 1960. 83. References Fukuyama, Francis. The End of History and the Last Man. New York: Avon Books, 1992. Hegel, G.W.F. "The Philosophical History of the World: Second Draft (1830)." German Idealist Philosophy. Ed. Rüdiger Buber. London: Penguin, 1997. 317-39. Citation reference for this article MLA style: Daniel Palmer. "Nostalgia for the Future: Everyday History and The Fifth Element." M/C: A Journal of Media and Culture 2.9 (2000). [your date of access] <http://www.uq.edu.au/mc/0001/nostalgia.php>. Chicago style: Daniel Palmer, "Nostalgia for the Future: Everyday History and The Fifth Element," M/C: A Journal of Media and Culture 2, no. 9 (2000), <http://www.uq.edu.au/mc/0001/nostalgia.php> ([your date of access]). APA style: Daniel Palmer. (2000) Nostalgia for the future: everyday history and The Fifth Element. M/C: A Journal of Media and Culture 2(9). <http://www.uq.edu.au/mc/0001/nostalgia.php> ([your date of access]).

One of the commonplace and myopic reactions to the rise of televisual time-shifting via video-on-demand, DVD rental services, illegal downloads, and streaming media was to decree “the death of the communal television experience”. For many, new forms of watching television unconstrained by time-bound, regularly scheduled programming meant the demise of the predominant form of media liveness that existed commercially since the 1950s. Nevertheless, as time-shifting practices evolved, so have attendant notions of televisual temporality—including changing forms of liveness, shared experience, and the plastic and flexible nature of new viewing patterns (Bury & Li; Irani, Jefferies, & Knight; Turner; Couldry). Although these temporal conceptualisations are relevant to streaming media, in the few years since the launch of platforms such as Netflix, Hulu, and Amazon, what it means “to stream” has rapidly expanded. Social media platforms like Twitter, Facebook, Snapchat, YouTube, and TikTok allow users to record, share, and livestream their own content. Not only does social media add to the growing definition of streaming, but these streaming interactions are also predominately mobile (Munson; Droesch). Taken together, a live and social experience of time via audio-visual media is not lost but is instead reactivated through the increasingly mobile nature of streaming. In the following article, I examine how mobile streaming media practices are part of a construction of shared temporality that both draws upon and departs from conceptualisations of televisual and fixed streaming liveness. Accordingly, HQ Trivia—a mobile-specific streaming gameshow app launched in August 2017—demonstrates novel attempts at reimagining the temporally-bound live televisual experience while simultaneously offering new monetisation strategies via mobile streaming technologies. Through this example, I argue that pervasive Web-connectivity, streaming platforms, data collection, mobile devices, and mobile streaming practices form arrangements of valorisation that are temporally bound yet concomitantly mobile, allowing new forms of social cohesion and temporal control.A Brief History of Televisual TemporalityTime is at once something infinitely mysterious and inherently understood. As John Durham Peters concisely explains, “time lies at the heart of the meaning of our lives” (175). It is precisely due to the myriad ontological, phenomenological, and epistemological dimensions of time that the subject has long been the focus of critical inquiry. As part of the so-called spatial turn, Michel Foucault argues that theory formerly treated space as “the dead, the fixed, the undialectical, the immobile. Time, on the contrary, was richness, fecundity, life, dialectic” (70). While scholarly turns toward space and later mobility have shifted the emphasis of critical inquiry, time is not rendered irrelevant. For example, Doreen Massey defines spaces as the product of interrelations, as sphere of possibility and heterogeneous multiplicity, and as always under construction (9). Critical to these conceptualisations of space, then, is the element of time. Considering space not as a static container in which individual actors enter and leave but instead as a production of ongoing becoming demonstrates how space, mobility, and time are inexorably intertwined. Time, space, and mobility are also interrelated when it comes to conversations of power. Judy Wajcman and Nigel Dodd contend that temporal control is related to dynamics of power, in that the powerful are fast and the powerless slow (3). Questions of speed, mobility, and the control of time itself, however, require attention to the media that help construct time. Aspects of time may always escape human comprehension, yet, “Whatever time is, calendars and clocks measure, control, and constitute it” (Peters 176). Time is a sociotechnical construction, but temporal experience is bound up in more than just time-keeping apparatuses. Elucidated by Sarah Sharma, temporalities are not experienced as uniform time, but instead produced within larger economies of labor and temporal worth (8). To reach a more productive understanding of temporalities, Sharma offers power-chronography, which conceptualises time as experiential, political, and produced by social differences and institutions (15). Put another way, time is an experience structured by the social, economic, political, and technical toward forms of social cohesion and control.Time has always been central to the televisual. Though it is often placed in a genealogy with film, William Uricchio contends that early discursive imaginings and material experiments in television are more indebted to technologies such as the telegraph and telephone in promising live and simultaneous communication across distances (289-291). In essence, film is a technology of storage, related to 18th- and 19th-century traditions of conceptualising time as fragmented; the televisual is instead associated with the “contrasting notion of time conceived as a continuous present, as flow, as seamless” (Uricchio 295). Responding to Uricchio, Doron Galili asserts that the relationship between film and television is dialectical and not hierarchical. For Galili, the desire for simultaneity and storage oscillates—both are present, both remain separate from one another. It is the synthesis of simultaneity and storage that allows both to operate together as a technological and mediated vision of mastering time. Despite disagreements regarding how best to conceptualise early film and television, it is clear that the televisual furthered a desire for spatial and temporal coordination, liveness, and simultaneity.In recent years, forms of televisual “time-shifting” allow viewers to escape temporally-bound scheduling. In what is commonly periodised as TVIII, the proliferation of digital platforms, video-on-demand, legal and illegal downloads, and DVD players, and streaming media displaced more traditional forms of watching live television (Jenner 259). It is important to note that while streaming is often related to the televisual, the televisual-to-streaming shift is not a clean linear evolution. Televisual-style content persists in streaming, but streaming might be better defined as matrix media, where content is made available away from the television set (Jenner 260). Regardless, the rise of streaming media platforms such as Netflix, Hulu, and Amazon Prime is commonly framed as part of televisual temporal disruption, as scholars note the growing plurality of televisual-type viewing options (Bury and Li 594). Further still, streaming platforms are often defined as television, a recent example occurring when Netflix CEO Reed Hastings called the service a “global Internet TV network” in 2016.The changing landscape of streaming and time-shifting notwithstanding, individuals remain aware of the viewing patterns of others, and this anticipation impacts the coordination and production of the collective television experience (Irani, Jeffries, and Knight 621). Related to this goal is how liveness connects viewers to shared social realities as they are occurring and helps to create a collective sense of time (Couldry 355-356). This shared experience of the social is still readily available in a time-shifted landscape, in that even shows released via an all-at-once format (for example, Netflix’s Stranger Things) can rapidly become a cultural phenomenon. Moreover, livestreaming has become commonplace as alternative to cable television for live events and sports, along with new uses for gaming and social media. As Graeme Turner notes, “if liveness includes a sense of the shrinking temporal gap between oneself and the rest of the world, as well as a palpable sense of immediacy, then this is something we can find as readily online as in television”. To this end, the claim that streaming media is harbinger of the “death of liveness” is far too simplistic. Liveness vis-à-vis streaming is not something that ceases to exist—shared temporal experiences simply occur in new forms.HQ TriviaOne such strategy to reactive a more traditional form of televisual liveness through streaming is to make streaming more social and mobile. Launched in August 2017, HQ Trivia (later retitled HQ Trivia and Words) requires users, known as HQties, to download the app and log in at 3.00 pm and 9.00 pm Eastern Standard Time to join a live gameshow. In each session, gameshow hosts ask a series of 12 single-elimination questions with three answer choices. Any users who successfully answer all 12 questions correctly split the prize pool for the show, which ranges from $250 to $250,000. Though these monetary prizes appear substantial, the per-person winnings paid out are often quite low based on the number winners splitting the pool. In the short time since its inception, HQ has had high and low audience participation numbers and has also spawned a myriad of imitators, including Facebook’s “Confetti” gameshow.Mobile streaming via trivia gameshows are a return to forms of televisual liveness and participation often disrupted by the flexible nature of streaming. HQ’s twice-a-day events require users to re-adapt to temporal constraints to play and participate. Just as intriguing is that “HQ sees its biggest user participation—and largest prizes—on Sundays, especially if games coincide with national events, such as holidays, sports games or award shows” (Alcantara). Though it is difficult to draw conclusions from this correlation, the fact that HQ garners more players and attention during events and holidays complicates notions of mobile trivia as a primary form of entertainment. It is possible, perhaps, that HQ is an evolution to the so-called second screen experience, in which a mobile device is used simultaneously with a television. As noted by Hye-Jin Lee and Mark Andrejevic, the rise of the second screen often enables real-time monitoring, customisation, and targeting that is envisioned by the promoters of the interactive commercial economy (41). Second screens are a way to reestablish live-viewing and, by extension, advertising through the importance of affective economies (46). Affect, or a preconscious structure of feeling, is critical to platform monetisation, in that the capture of big data requires an infrastructuralisation of desire—in streaming media often a desire for entertainment (Cockayne 6). Through affective capture, users become willing to repeat certain actions via love for and connection to a platform. Put another way, big data collection and processing is often the central monetisation strategy of platforms, but capturing this data requires first cultivating user attachment and repeat actions.To this end, many platforms operate by encouraging as much user engagement as possible. HQ certainly endeavors for strong affective investment by users (a video search for “HQ Trivia winner reactions” demonstrates the often-zealous nature of HQties, even when winning relatively low amounts of prize money). However, HQ departs from the typical platform streaming model in that engagement with the app is limited to two games per day. These comparatively diminutive temporal appointments have substantial implications for HQ’s strategies of valorisation, or the process of apprehending and making productive the user as laborer in new times and spaces (Franklin 13). Media theorists have long acknowledged the “work of watching” television, in which the televisual is “a real economic process, a value-creating process, and a metaphor, a reflection of value creation in the economy as a whole” (Jhally and Livant 125). Televisual monetisation is predominately based on the advertising model, which functions to accelerate the selling of commodities. This configuration of capital accumulation is enabled by a lineage of privatisation of broadcasting; television is heralded as a triumph of deregulation, but in practice is an oligopolistic, advertising-supported system of electronic media aided by government policies (Streeter 175). By contrast, streaming media accomplishes capitalistic accumulation through the collection, storage, and processing of big data via cloud infrastructure. Cloud infrastructure enables unprecedented storage and analytic capacity, and is heavily utilised in streaming media to compress and transmit data packets.Although the metaphor of the cloud situates user data as ephemeral and free, these infrastructures are better conceptualised as a “digital enclosure”, which invokes the importance of privatisation and commodification, as well as the materiality and spatiality of data collection (Andrejevic 297). As such, streaming monetisation is often achieved through the multitude of monetisation possibilities that occur through the collection of vast amounts of user data. Streaming and mobile streaming, then, are similar to the televisual in that these processes monetise the work of watching; yet, the ubiquitous data collection of streaming permits more efficient forms of computational commodification.Mobile streaming media continues the lineage of ubiquitous immaterial labor—a labor form that can, and commonly is, accomplished by “filling the cracks” of non-work time with content engagement and accompanying data collection. HQ Trivia, nevertheless, functions as a notable departure from this model in that company has made public claims that the platform will not utilise the myriad user identification and location data collected by the app. Instead, HQ has engaged in brand promotions that include Warner Brothers movies Ready Player One and Rampage, along with a brief Nike partnership (Feldman; Perry). Here, mobile and temporal valorisation occurs through monetisation strategies more akin to traditional televisual advertising than the techniques of big data collection often utilised by platforms. Whether or not eschewing the proclivity toward monetising user data for a more traditional form of brand promotion will yield rewards for HQ remains to be seen. Nonetheless, this return to more conventional televisual monetisation strategies sets HQ apart from many other applications that rely on data collection and subsequent sale of user data for targeted advertisements.Affective attachment and the transformation of leisure times through mobile devices is critical not just to value generation, but also to the relationship between mobile streaming and temporal and mobile control. As previously noted, Sharma elucidates that time is part of biopolitical forms of control, produced and experienced differently. Nick Couldry echoes these sentiments, in that there are rival forms of liveness stemming from a desire for connectivity, and that these “types of liveness are now pulling in different directions” (360). Despite common positionings, the relationship between television and streaming media is not a neat linear evolution—television, streaming, and mobile streaming continue to operate both side-by-side and in conjunction with one another. The experience of time, nevertheless, operates differently in these media forms. Explained by Wendy Chun, television structures temporality through steady streams of information, the condensation of time that demands response in crisis, and the most powerful moments of “touching the real” via catastrophe (74). New media differs by instead fostering crisis as the norm, in that “crises promise to move users from banal to the crucial by offering the experience of something like responsibility; something like the consequences and joys of ‘being in touch’” (Chun 75). New media crisis is often felt via reminders and other increasingly pervasive prompts that require an immediate user response. HQ differs from other forms of streaming and mobile streaming in that the plastic and flexible nature of viewing is replaced by mobile notifications and reminders that one must be ready for twice-daily games or risk losing a chance to win.In contributing to a sense of new media crisis, HQ fosters novel expectations for the mobile streaming subject. Through temporally-bound mobile livestreaming, “networked smart screens are the mechanism by which time and space will be both overcome and reanimated” as the “real world” is transformed into a magical landscape of mobile desire (Oswald and Packer 286). There is a double-edged element to this transformation, however, in that power of HQ Trivia is the ability to reanimate space through a promise that users are able to win substantial prize money only if one remembers to tune in at certain times. Within HQ Trivia, the much-emphasised temporal freedom of streaming time-shifting is eschewed for more traditional forms of televisual liveness; at the same time, smartphone technologies permit mobile on-the-go forms of engagement. Accordingly, a more traditional televisual simultaneity reemerges even as the spaces of streaming are untethered from the living room. It is in this reemphasis of liveness and sharedness that the user is simultaneously empowered vis-à-vis mobile devices and made mobile streaming subject through new temporal expectations and forms of monetisation.As mobile streaming becomes increasingly pervasive, new experimental applications jockey for user attention and time. HQ Trivia’s model of eschewing data collection for more traditional televisual monetisation represents attempts to recreate mobile media engagement not through individual isolated audio-visual practices, but instead through a live and mobile experience. Consequently, HQ Trivia and other temporally-bound gameshow apps demonstrate a reimagined live televisual experience, and, in turn, a monetisation of mobile engagement through affective investment.ReferencesAlcantara, Chris. “Diving into HQ Trivia: The Toughest Rounds, the Best Time to Play and How Some Users Beat the Odds.” The Washington Post 5 Mar. 2018. <http://www.washingtonpost.com/graphics/2018/business/hq-trivia/?utm_term=.02dc389ae3a9>.Andrejevic, Mark. “Surveillance in the Digital Enclosure.” The Communication Review 10.4 (2007): 295-317.Bury, Rhiannon, and Johnson Li. “Is It Live or Is It Timeshifted, Streamed or Downloaded? 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