Journal articles on the topic 'Dimsym for reduce'

Abstract. The basis and challenge of strongly coupled data assimilation (CDA) is the accurate representation of cross-domain covariances between various coupled subsystems with disparate spatio-temporal scales, where often one or more subsystems are unobserved. In this study, we explore strong CDA using ensemble Kalman filtering methods applied to a conceptual multiscale chaotic model consisting of three coupled Lorenz attractors. We introduce the use of the local attractor dimension (i.e. the Kaplan–Yorke dimension, dimKY) to prescribe the rank of the background covariance matrix which we construct using a variable number of weighted covariant Lyapunov vectors (CLVs). Specifically, we consider the ability to track the nonlinear trajectory of each of the subsystems with different variants of sparse observations, relying only on the cross-domain covariance to determine an accurate analysis for tracking the trajectory of the unobserved subdomain. We find that spanning the global unstable and neutral subspaces is not sufficient at times where the nonlinear dynamics and intermittent linear error growth along a stable direction combine. At such times a subset of the local stable subspace is also needed to be represented in the ensemble. In this regard the local dimKY provides an accurate estimate of the required rank. Additionally, we show that spanning the full space does not improve performance significantly relative to spanning only the subspace determined by the local dimension. Where weak coupling between subsystems leads to covariance collapse in one or more of the unobserved subsystems, we apply a novel modified Kalman gain where the background covariances are scaled by their Frobenius norm. This modified gain increases the magnitude of the innovations and the effective dimension of the unobserved domains relative to the strength of the coupling and timescale separation. We conclude with a discussion on the implications for higher-dimensional systems.

One of the popular methods of asynchronous logic implementation is based on so called Delay-Insensitive-Minterm-System (DIMS), where a sum-of-minterms (SOM) function is given and each minterm is represented using a state-holding (C-) element. However, such implementation is rather expensive since minterm minimization is not allowed. In the paper, structure called factorized DIMS is proposed. It is shown that under realistic delay limitation, instead of SOM, strong indication can be ensured for the sum of mutually orthogonal product terms resolved into factorized form. It reduces significant implementation complexity.

XTRONIC®, a tailored nanocrystalline nickel alloy, has been qualified as a new metal barrier layer replacing pure nickel in many traditional hard and soft gold applications. XTRONIC is produced using a proprietary combination of electroplating chemistry and pulse-reverse applied current waveforms that enables dynamic control of the deposited material's composition and grain structure. The resulting deposits have been shown to provide superior performance in a variety of areas that are critical to microelectronics. These improved performance metrics include resistance to corrosive environments, wear durability, wire bonding, and temperature aging performance. The novel suites of properties possible provide enhanced performance for microelectronics, and can also enable equivalent or improved overall performance even with significant reductions of precious metal use in many applications. Proven areas of application include high-speed backplane connectors and multiple printed circuit board applications such as dual in-line memory module (DIMM) and flash memory card (FMC) applications. In the current paper we focus on properties for printed circuit board applications.

Aim. To evaluate how health-related quality of life (HRQOL) and traditional Chinese medicine (TCM) constitutions of Yin-Xu, Yang-Xu, and Stasis are related in type 2 diabetes patients. Method. Seven hundred and five subjects were recruited in 2010 for this study from a Diabetes Shared Care Network in Taiwan. Generic and disease-specific HRQOL were assessed by the short form 36 (SF-36) and the diabetes impact measurement scale (DIMS). Constitutions of Yin-Xu, Yang-Xu, and Stasis were then assessed by the body constitution questionnaire (BCQ), a questionnaire consisting of 44 items that evaluate the physiological state based on subjective symptoms and signs. Results. Estimated effects of the Ying-Xu and Stasis on all scales of the SF-36 were significantly negative, while estimated effects of the Yang-Xu on all scales (except for SF, RE, MH, and MCS) were significantly negative. For DIMS, the estimated effects of the Ying-Xu and Stasis on all scales were significantly negative except for Stasis on well-being, while Yang-Xu has a significantly negative effect only on symptoms. Conclusions. This study demonstrates that TCM constitutions of Yin-Xu, Yang-Xu, and Stasis are closely related to a reduction in HRQOL. These findings support the need for further research into the impact of intervention for TCM constitutions on HRQOL in patients with type 2 diabetes.

During the recent decades, non-volatile memory (NVM) has been anticipated to scale up the main memory size, improve the performance of applications, and reduce the speed gap between main memory and storage devices, while supporting persistent storage to cope with power outages. However, to fit NVM, all existing DRAM-based applications have to be rewritten by developers. Therefore, the developer must have a good understanding of targeted application codes, so as to manually distinguish and store data fit for NVM. In order to intelligently facilitate NVM deployment for existing legacy applications, we propose a universal heterogeneous cache hierarchy which is able to automatically select and store the appropriate data of applications for non-volatile memory (UHNVM), without compulsory code understanding. In this article, a program context (PC) technique is proposed in the user space to help UHNVM to classify data. Comparing to the conventional hot or cold files categories, the PC technique can categorize application data in a fine-grained manner, enabling us to store them either in NVM or SSDs efficiently for better performance. Our experimental results using a real Optane dual-inline-memory-module (DIMM) card show that our new heterogeneous architecture reduces elapsed times by about 11% compared to the conventional kernel memory configuration without NVM.

Objectives The aim of this study was to compare the stress reduction effects of spending 25 minutes reclining in a SolTec™ Lounge between 2 intervention groups. Group 1 experienced the Lounge with multilayered music on an external speaker, while group 2 experienced the Lounge with multilayered music and synchronous vibration and magnetic stimulation from within the chair. Subjects In total, 110 participants with a self-reported stress level of 4 or higher on a 0- to 10-point scale were recruited from the local community including employees. Participants were randomized into receiving 1 of the 2 interventions. There were no significant differences between the group’s average stress levels prior to the interventions. Interventions Both groups received a 25-minute session in a dimly lit, quiet area on the Lounge with multilayered music. The second group also received vibration and magnetic stimulation that were synchronized with the music. Design Current stress level as well as ratings or feelings of anxiety, tenseness, energy, focus, happiness, relaxation, nervousness, creativeness, and being rested were recorded before and after the session. Results Both groups of participants reported equivalent decreased feelings of stress after using the Lounge. Participants receiving the synchronous multilayered music, vibration, and magnetic stimulation did report significantly reduced feelings of tenseness, feeling more relaxed, and feeling more creative when compared with the group that received music only. Conclusion Spending 25 minutes in the SolTec™ Lounge with multilayered music is an effective way to reduce self-reported stress in individuals who self-report having a high stress level. If confirmed by future studies, including synchronous vibration and magnetic stimulation with the multilayered music might be an effective stress reduction strategy.

AbstractLet M be a geometrically irreducible smooth projective variety, defined over a finite field k, such that M admits a k-rational point x0. Let (M,x0/ denote the corresponding fundamental group-scheme introduced by Nori. Let EG be a principal G-bundle over M, where G is a reduced reductive linear algebraic group defined over the field k. Fix a polarization ξ on M. We prove that the following three statements are equivalent:1. The principal G-bundle EG over M is given by a homomorphism (M,x0)→G.2. There are integers b > a ≥ 1, such that the principal G-bundle (FbM)* EG is isomorphic to (FaM) * EG where FM is the absolute Frobenius morphism of M.3. The principal G-bundle EG is strongly semistable, the degree(c2(ad(EG))c1 (ξ)d−2 = 0, where d = dimM, and the degree(c1(EG(χ))c1(ξ)d−1) = 0 for every character χ of G, where EG(χ) is the line bundle over M associated to EG for χ.In [16], the equivalence between the first statement and the third statement was proved under the extra assumption that dimM = 1 and G is semisimple.

Abstract Abstract 3805 Background: Detection of aberrant antigen expression by multiparameter flow cytometry (MFC) is increasingly used in the diagnostic work-up of myelodysplastic syndromes (MDS). Myeloid nuclear differentiation antigen (MNDA) has been described to be strongly expressed in mature myeloid cells while myeloid progenitor cells show a weak expression only. MNDA has been suggested to be aberrantly expressed in MDS and therefore may improve the diagnostic capabilities of MFC. Aim: To analyze differences in the expression of MNDA between non-MDS cytopenias, MDS, and AML. Patients and methods: Bone marrow samples from a total of 269 patients with cytopenias and suspected MDS were analyzed by cytomorphology and MFC in parallel for diagnostic purposes. MNDA expression was determined by MFC in granulocytes, monocytes, and myeloid progenitor cells using the antibody clone 3C1 (provided by Trillium Diagnostics, Bangor, ME). MNDA expression was compared between patients grouped according to cytomorphology as: no MDS (n=103), MDS (n=85), CMML (n=9), AML (n=19), and possible MDS (n=53, based on cytomorphologic features of dysplasia but not sufficient to diagnose MDS). In addition, MNDA expression was compared between patients with aberrant and normal karyotype (cytogenetics was available in 238/269 patients, an aberrant karyotype was present in 59 patients). Results: A higher percentage of granulocytes (G) and monocytes (M) with weak expression of MNDA (%dimG and %dimM) was consistently found in MDS/AML samples as compared to samples without MDS. In detail, %dimG (mean±SD, 20±20% vs. 8±10%, p<0.001) and %dimM (31±24% vs. 16±11%, p<0.001) were significantly higher in cases with MDS as compared to those without. Furthermore, in patients with MDS, as compared to those without, the mean fluorescence intensity (MFI) of MNDA expression was found to be lower in monocytes (mean MFI, 71±36 vs. 85±27, p=0.004) as well as in myeloid progenitor cells with bright (67±24 vs. 86±66, p=0.007) or dim (2.5±0.9 vs. 2.8±1.2, p=0.037) expression of MNDA. In AML cases, as compared to cases with no MDS, similar figures were observed with higher values for %dimG (27±27% vs. 8±10%, p=0.007) and for %dimM (45±31% vs. 16±11%, p=0.001). In addition, in AML cases MFI of MNDA expression was lower in monocytes (55±39 vs. 85±27, p<0.001). Considering the diagnostically challenging cases with dysplastic features by cytomorphology but not sufficient to diagnose MDS similar although smaller differences were seen as compared to cases with no MDS with higher values for both %dimG (15±22% vs. 8±10%, p=0.026) and %dimM (25±19% vs. 16±11%, p=0.002) as well as a lower MFI of MNDA expression in monocytes (73±26 vs. 85±27, p=0.010). Interestingly, in CMML cases no reduced expression of MNDA could be found in any of the cell lines analyzed which might argue in favour of regarding CMML as myeloproliferative rather than myelodysplastic disease. From the cytogenetic point of view cases with an aberrant karyotype had higher values for both %dimG (22±20% vs. 12±18%, p=0.001) and %dimM (33±24% vs. 23±21%, p=0.004) as compared to those with a normal karyotype. Conclusions: These data suggests that MDS, as compared to non-MDS bone marrow, is associated with a reduced expression of MNDA in different cell lines which in part also applies to AML. Further analyses should define the potential of MNDA assessment to improve the MFC-based approach to diagnose MDS. Disclosures: Kern: MLL Munich Leukemia Laboratory: Employment, Equity Ownership. Bellos:MLL Munich Leukemia Laboratory: Employment. Alpermann:MLL Munich Leukemia Laboratory: Employment. Haferlach:MLL Munich Leukemia Laboratory: Employment, Equity Ownership. Schnittger:MLL Munich Leukemia Laboratory: Employment, Equity Ownership. Haferlach:MLL Munich Leukemia Laboratory: Employment, Equity Ownership.

Abstract Background: Diagnostic workup for suspected myelodysplastic syndromes (MDS) is increasingly done with the aid of multiparamter flow cytometry (MFC) detecting aberrant antigen expression. Myeloid nuclear differentiation antigen (MNDA) is a hematopoietic protein expressed strongly in mature myeloid cells, but only weakly in myeloid progenitor cells. Recently, reduced MNDA expression was detected by MFC in monocytes (M), granulocytes (G) and myeloid progenitor cells (MP) in patients (pts) with MDS and MNDA as additional marker for MFC was proposed to improve diagnostic capabilities of MFC. Aim: To verify differences in MNDA expression in M, G and MP of pts with MDS vs. those without MDS and to test its value as additional MFC parameter in a cohort with suspected MDS. Patients and methods: We analysed bone marrow from 131 pts (median age 74, range 17-93 years) with suspected MDS by cytomorphology (CM), standard 10-color-MFC and cytogenetics (CG) in parallel. For detection of MNDA expression we applied a readily available five color intracellular staining assay using monoclonal antibodies against MNDA, CD45, CD64, CD15 and myeloperoxidase (MDS-Quant, Trillium Diagnostics, Bangor, ME). Different gating strategies to best define M [SSC/CD45 plot (A) vs CD16/CD15 plot (B)], G (A vs B) and MP (A) were used. MNDA expression in pts diagnosed with no MDS (n=35), possible MDS (n=40; based on morphologic dysplastic changes insufficient for diagnosis of MDS) and MDS (n=56) by CM was compared. We also correlated results to findings in standard MDS-MFC (n=128) and CG (n=120). Results: Based on CM diagnosis, pts with MDS showed higher percentages of G and M with weak expression of MNDA (%dimG and %dimM) than no-MDS pts irrespective of the gating strategy [mean±SD, %dimG: 16±17 vs 6±7, p<0.001 (A) and 3±3 vs 1±2, p=0.011 (B); %dimM: 22±21 vs 15±12, p=0.054 (A) and 14±25 vs 4±4, p=0.004 (B)]. Diagnostically challenging cases with "possible MDS" by CM also displayed significantly higher %dimG and %dimM than no-MDS cases [%dimG 13±14 vs 6±7, p=0.006 (A), %dimM: 23±20 vs 15±12, p=0.027 (A) and 17±24 vs 4±4, p=0.002 (B)]. Differences between MDS and possible MDS existed only in higher %dimGra in MDS gated in plot B (2.7±3.3 vs 1.6±1.9, p=0.036). Conversely, MDS pts and pts with possible MDS had higher percentages of MP with high MNDA expression (%hiMP) than no-MDS pts (17±16 vs 9±8, p=0.005 and 14±13 vs 9±8, p=0.041, respectively). MNDA expression levels measured by mean fluorescence intensity (MFI) were diminished in M of pts with MDS vs no-MDS [26±12 vs 33±9, p=0.006 (A) and 30±14 vs 39±10, p=0.002 (B), respectively] and in pts with possible MDS vs no-MDS pts [26±12 vs 33±9, p=0.004 (A) and 30±2 vs 39±10, p=0.005, respectively]. Looking at the low level MNDA MP (dimMP), higher MFIs were found in MDS compared to no-MDS (1±0.8 vs 0.7±0.4, p=0.002) and in possible MDS vs no-MDS (1.0±0.7 vs 0.7±0.4, p=0.011). Comparing results of MNDA MFC and standard MFC we also found higher MFI in dimMP (1.0±0.8 vs 0.7±0.3, p=0.039) in pts diagnosed MDS by MFC (n=63) vs those without signs of MDS (n=14). In the inexplicit cases diagnosed MDS possible by MFC (aberrant antigen expressions not sufficient for MDS diagnosis, n=51) higher percentages of dimG [16±18 vs 9±10, p=0.015 (A) and 3±3 vs 1±2, p=0.005 (B)] and dimM [16±25 vs 7±13, p=0.02 (B)] were seen as compared to no-MDS, in line with CM results. Moreover, a lower MFI in M [26±12 vs 31±11, p=0.024 (A) and 29±14 vs 36±13, p=0.02 (B)] and a higher MFI in dimMP (1.0±0.8 vs 0.9±0.6, p=0.021) could be detected. Considering CG, cases with an aberrant karyotype (n=41) had higher values for %dimM (27±23 vs 18±16, p=0.035) as compared to those with a normal karyotype (n=79). Including the most significant markers [%dimG>12 (A), %dimM>13 (B), %hiMP>15 (A), 1 point each], we created a new MNDA score with a score of ≥2 indicating MDS. Of 14 pts with a score of ≥2, 13 pts were concordantly diagnosed MDS using CM for validation; 1 pt had no MDS by CM but was classified MDS by standard MDS-MFC. Conclusions: Reduced MNDA levels and higher percentages of M and G with low MNDA expression as well as a higher percentage of MP with high MNDA expression could be confirmed in pts with MDS. Applying our newly defined MNDA score for MFC, identification of a subset of pts with MDS was possible at high specificity. Further analyses will have to evaluate this MNDA score incorporated into standard MDS-MFC panels to improve MFC-based diagnostic approaches for MDS. Disclosures Bellos: MLL Munich Leukemia Laboratory: Employment. Haferlach:MLL Munich Leukemia Laboratory: Employment, Equity Ownership. Davis:Trillium Diagnostics: Employment, Equity Ownership. Haferlach:MLL Munich Leukemia Laboratory: Employment, Equity Ownership. Schnittger:MLL Munich Leukemia Laboratory: Employment, Equity Ownership. Kern:MLL Munich Leukemia Laboratory: Employment, Equity Ownership.

The recent explosion of thin notebooks and tablets has challenged the IC packaging industry to come up with new solutions of DRAM integration onto motherboard. Beyond traditional SO-DIMMs, innovative memory solutions should perform well at high speed (1600 MT/s) with much reduced footprint and z-height, while leveraging current manufacturing infrastructure for lower cost and also enabling simpler and cheaper motherboard design. To accomplish all the goals stated above for high-performance on-board memory applications, we showed a new DIMM-in-a-Package (DIAP) technology. This 22.5×17.5×1.2mm quad-die face-down (QFD) part has four standard center bond DDR3L dies (each ×16) face-down, which are wire-bonded to the bottom layer of the 407-ball BGA package. This judiciously designed package places data nets at the peripheral and command/control/address nets in the middle of the BGA. As such, motherboard design and layout were substantially simplified to allow the use of low-cost non-HDI Type 3 board for signal integrity performance comparable to expensive HDI boards. The QFD™ ball assignment could accommodate future memory density expansion and different memory type (e.g. LPDDR3, DDR4). It also enables dual-rank operations in each channel when double-sided assembly is used. We successfully demonstrated in production build that 1GB ×64 DDR3L QFD with data rate of 1600 MT/s can be achieved on a Type 3 motherboard for the Intel Haswell mobile platform in dual-channel dual-rank operation. A balanced-T Command/Address topology between the processor and the memory was implemented in a DELL XPS 12 Ultrabook. Channel simulations including chip, package and board were performed. We also conducted cross-talk analysis up to 9 aggressors to take into account the timing impact from the dense routing inside QFD. Layout optimization techniques for best signal integrity, such as trace length matching and stub length minimization, were discussed in detail and applied to both package and motherboard design. Lastly, we also presented and discussed DIAPs currently under study with different memory bus topologies for even higher data rate up to 2400 MT/s using the same QFD technology. Our results and analysis demonstrated DIAP using wirebond-based QFD technology as a viable candidate for the compact, low-cost, high-performance on-board memory solution. We have identified several key aspects of DIAP architecture design and physical layout that are strongly impacting the SI of QFD parts at rate &gt;1600 MT/s and that could be optimized for DDR4 operations. QFD DIAP can become an attractive low-cost, high-performance option for many OEMs and ODMs in various mobile, personal and network computing platforms.

SummaryUsing direct injection mass spectrometry (DIMS) we discovered that deoxyribose-1-phosphate (dRP) is released by platelets upon activation. Interestingly, the addition of exogenous dRP to human platelets significantly increased platelet aggregation and integrin αIIbβ3 activation in response to thrombin. In parallel, genetically modified platelets with double genetic deletion of thymidine phosphorylase and uridine phosphorylase were characterised by reduced release of dRP, impaired aggregation and decreased integrin αIIbβ3 activation in response to thrombin. In vitro platelet adhesion onto fibrinogen and collagen under physiological flow conditions was potentiated by treatment of human platelets with exogenous dRP and impaired in transgenic platelets with reduced dRP release. Human and mouse platelets responded to dRP treatment with a sizeable increase in reactive oxygen species (ROS) generation and the pre-treament with the antioxidant apocynin abolished the effect of dRP on aggregation and integrin activation. Experiments directly assessing the activation of the small G protein Rap1b and protein kinase C suggested that dRP increases the basal levels of activity of these two pivotal platelet-activating pathways in a redox-dependent manner. Taken together, we present evidence that dRP is a novel autocrine amplifier of platelet activity, which acts on platelet redox levels and modulates integrin αIIbβ3.

Throughout our species history, humans have created pictures. The resulting picture record reveals an overwhelming preference for depicting things with minds. This preference suggests that pictures capture something of the mind that is significant to us, albeit at reduced potency. Here, we show that abstraction dims the perceived mind, even within the same picture. In a series of experiments, people were perceived as more real, and higher in both Agency (ability to do) and Experience (ability to feel), when they were presented as pictures than when they were presented as pictures of pictures. This pattern persisted across different tasks and even when comparators were matched for identity and image size. Viewers spontaneously discriminated between different levels of abstraction during eye tracking and were less willing to share money with a more abstracted person in a dictator game. Given that mind perception underpins moral judgement, our findings suggest that depicted persons will receive greater or lesser ethical consideration, depending on the level of abstraction.

Smart Headlight Dimmer is a component in which we can decrease the number of accidents that are causing due to high intensity of light during night times .This helps to reduce the causing of accidents due to Troxler effect .This device helps us to adjust the intensity of the beam of the headlight according to the intensities of the surrounding light .When the intensity of the surrounding light is high ,then the headlight automatically dims .It also helps in other cases like if the Ultrasonic sensor does not works ,then if any accidents occur it will send a message to the authorised contacts along with the location using the GPS and GSM Modules. GSM module send the alert message on your mobile with the location of the accident. The advancing technology has made our day today lives easier. Since every coin has two sides similarly technology has its benefits also as its disadvantages. the rise in technology has increased the speed of road accidents which causes huge loss of life. The poor emergency facilities available in our country just increase this problem. Our project goes to provide a solution to this problem also.

ABSTRACT Atmospheric turbulence reduces the image quality and resolution of ground-based optical telescopes. Future large solar telescopes (e.g. the CGST, China Giant Solar Telescope) should be equipped with adaptive optics (AO) systems. The design of AO systems is associated with atmospheric optical turbulence parameters, especially the profile of the refractive index structure $C_{n}^{2}(h)$. With the solar differential image motion monitor (S-DIMM) and the profiler of the moon limb (PML), a simplified version of a PML, termed a profiler of the differential solar limb (PDSL), was built in order to determine the daytime $C_{n}^{2}(h)$ and other atmospheric turbulence parameters. A PDSL with differential solar limb fluctuations was used to determine the turbulence profiling, and the extended solar limb extends the range of separation angles for a higher resolution of the height profile. The PDSL structure and its performance are described. In addition, numerical simulations were conducted to verify the effectiveness of the method. As revealed from the simulation results, the layered integral coefficient matrix is capable of solving the discretization error and enhancing the inversion accuracy of the turbulence contour. The first test results at Mt Wumingshan (a candidate site for the CGST) are presented.

Abstract. In this contribution, the channel characteristic of the next generation DDR5-SDRAM architecture and possible approaches to overcome channel impairments are analysed. Because modern enterprise server applications and networks demand higher memory bandwidth, throughput and capacity, the DDR5-SDRAM specification is currently under development as a follow-up of DDR4-SDRAM technology. In this specification, the data rate is doubled to DDR5-6400 per IO as compared to the former DDR4-3200 architecture, resulting in a total per DIMM data rate of up to 409.6 Gb s−1. The single-ended multi-point-to-point CPU channel architecture in DDRX technology remains the same for DDR5 systems. At the specified target data rate, insertion loss, reflections, cross-talk as well as power supply noise become more severe and have to be considered. Using the data buffer receiver front-end of a load-reduced memory module, sophisticated equalisation techniques can be applied to ensure target BER at the increased data rate. In this work, the worst case CPU back-plane channel is analysed to derive requirements for receiver-side equalisation from the channel response characteristics. First, channel impairments such as inter-symbol-interference, reflections from the multi-point channel structure, and crosstalk from neighboring lines are analysed in detail. Based on these results, different correction methods for DDR5 data buffer front-ends are discussed. An architecture with 1-tap FFE in combination with a multi-tap DFE is proposed. Simulation of the architecture using a random input data stream is used to reveal the required DFE tap filter depth to effectively eliminate the dominant ISI and reflection based error components.

Pengembangan usaha madu klanceng dari lebah trigona sapiens merupakan peluang bagi masyarakat khususnya di pedesaan yang memiliki potensi sumber daya kakayaan hayati. Pengabdian Kepada Masyarakat ini dilaksanakan di Kampung Klanceng Desa Kalipoh Kecamatan Ayah, Kab. Kebumen, Jawa Tengah. Kegiatan ini berlangsung dari bulan Mei sampai Desember 2020 yang sumber biayanya berasal dari program PKM Kemenristekdikti Tahun Angaran 2020. Tujuanya adalah untuk membantu pengembangan usaha dan pemasaran madu klanceng. Permasalahan utama yang dialami KTH Barokah yaitu menurunya volume produksi madu yang disebabkan oleh: (1) Suplai pakan lebah kurang mencukupi terutauma dimusim kemarau (2) Serangan hama meningkat, (3) banyak stupe (box sarang lebah) yang rusak. Metode yang digunakan adalah metode pendekatan melaui Forum Group Discussion (FGD), pendampingan, pelatihan dan penyuluhan (fasilitasi). Hasil kegiatan yaitu berupa penataan kembali stupe lebah, penggantian 100 box sarang lebah yang rusak. Tumbuhnya 400 bibit tanaman bunga xantostemon, bunga air mata penganten, bunga kaliandra dan Batavia serta penanaman holtikultura berupa 200 bibit kopi dan kelengkeng jenis matalada. Pada bagian akhir kegiatan PKM hasilnya menunjukan adanya peningkatan volume produksi madu dari 8-12 liter menjadi 18-24 liter/bulan. Teknik pengemasan pada saat pelatihan telah diaplisikan dengan memakai botol yang lebih higienis dan menarik, serta penggunaan kemasan sachet yang lebih ekonomis menggunakan alat vacoom sealer. selain itu Tim PKM juga memberikan penyuluhan dan fasilitasi dalam distribusi dan penjualan. Dengan kegiatan PKM ini diharapkan kelompok masyarakat tani hutan semakin mampu dalam mengelola usahanya sehingga memiliki produk unggulan yang bernilai ekonomi tinggi untuk meningkatkan kesejahteraan. Kata kunci: Madu Klanceng, Suplai Pakan, Produktifitas, Kemasan, Pemasaran ABSTRACT The development of the Klanceng honey business from the trigona sapiens bee is an opportunity for people, especially in rural areas who have the potential for bio-rich resources. This Community Service was carried out in Klanceng Village, Kalipoh Village, Ayah Subdistrict, Kab. Kebumen, Central Java. This activity takes place from May to December 2020, the source of which comes from the PKM program of the Ministry of Research, Technology and Higher Education for the 2020 budget year. The goal is to help business development and marketing of Klanceng honey. The main problem experienced by KTH Barokah is the reduced volume of honey production caused by: : (1) The supply of bee feed is insufficient, especially in the dry season. (2) The attack of pests has increased, (3) many stupes (beehive boxes) are damaged. The method used is an approach method through Forum Group Discussion (FGD), mentoring, training and outreach (facilitation). The results of the activities were in the form of rearranging the bee hive, replacing 100 damaged beehive boxes. The growth of 400 xantostemon flower seeds, the bride 's tear flower, calliandra and Batavia flowers, as well as horticultural planting in the form of 200 coffee seeds and matalada longan. At the end of the PKM activity, the results showed an increase in the volume of honey production from 8-12 liters to 18-24 liters / month. The packaging technique at the time of training was applied by using a more hygienic and attractive bottle, and the use of a more economical sachet package using a vacoom sealer. Besides that, the PKM Team also provided counseling and facilitation in distribution and sales. With this PKM activity, it is hoped that forest farming community groups will be increasingly able to manage their businesses so that they have superior products with high economic value to improve welfare. Keywords: Klanceng Honey, Feed Supply, Productivity, Packaging, Marketing

Abstract Background Evidence regarding the association between perinatal smoking and insomnia symptoms in adulthood is limited. Using the UK 1970 Birth Cohort Study, we determined the association of maternal smoking during pregnancy and early-childhood with insomnia symptoms at 42 years. Methods Participants were followed from birth (1970; N = 9020; male, 48%) and age 5 (1975; N = 8050; male, 47.9%) to 42 years (2012). Data on maternal smoking was collected at birth and age 5; difficulties initiating or maintaining sleep (DIMS) and DIMS plus daytime symptoms (tiredness, irritability, depression and nervousness) [DIMS plus] at age 42. We used a direct acyclic graph to select confounders. A log-binomial logistic regression, adjusted for confounders, was used to estimate the association. Missing data were imputed via multiple imputation. Results The prevalence of DIMS and DIMS plus was 32% and 25%, respectively. There was a 25% [odds ratio (OR)=1.25; 95% confidence interval (CI): 1.12-1.38)] and 23% [OR = 1.23; 95% CI: 1.09-1.38] increase in odds of DIMS and DIMS plus among participants whose mothers smoked during pregnancy compared to those whose mother did not. A 24% [OR = 1.24; 95% CI: 1.12-1.37] and 18% [OR = 1.18; 95% CI: 1.05-1.33] increase in odds of DIMS and DIMS plus respectively, was observed among participants who had smoking mothers at age 5. Intensity and duration of smoking had a dose-response relationship with insomnia symptoms. Conclusions Maternal smoking during pregnancy and early-childhood is associated with increased risk of adult insomnia symptoms. Key messages This study suggests that reducing maternal smoking may reduce the risk of adult insomnia.

The purpose of this study is to analyze the existence of bias in beta values in the Jakarta Stock Exchange (JSX) that is a developing capital market and have a significant number of stocks that illiquid. Therefore, the measurement of beta is likely bias. The existence of bias beta values is caused by nonsynchronous trading. This study replicates the previous study from Hartono and Surianto (2000). It uses 88 samples of listing firms in the JSX from January 1997 until March 2002. The hypothesis testing concludes that during the-interval period beta values in the JSX are bias. The bias of beta values can be corrected with Scholes-Williams model, Dimson model, and Fowler-Rorke model. The Fowler-Rorke model gives the best result to reduce the bias than others.

Abstract This paper evaluates the potential energy cost savings when high R-value static insulation layers as well as dynamic insulation materials (DIMs) are applied to residential housing located in Barcelona Spain. The analysis considers three dwelling prototypes to characterize the existing housing stock in Barcelona including detached attached and apartments. In addition three vintages for each housing prototype are defined: before 1979 when building envelope insulation took effect in Spain between 1980 and 2006 and after 2006 when the building envelope insulation code became more restrictive. Using a modified 3R2C network model to determine thermal loads the performance of both static and dynamic insulation systems is evaluated when applied to exterior wall for various housing prototypes in Barcelona. The dynamic insulation R-value is selected based on a 2-step control strategy. The analysis results indicate that DIMs with the largest R-value step (i.e. difference between the high and the low R-values) achieve the highest savings in source energy reaching up to 19% reduction in source heating and cooling energy for the entire housing stock of Barcelona. The annual energy savings achieved by DIMs are valued to be 181 M€/year for the entire existing housing stock in Barcelona. In addition electrical peak demand reduction associated with retrofitting exterior walls for the existing Barcelona housing stock can result in future avoidance of building new power plants and can provide additional 144 M€ and 162 M€ for respectively static and dynamic insulation systems. Considering the current energy mix applying dynamic wall insulation systems for Barcelona existing housing stock could reduce annual CO2 emissions by more than 300 000 tons or 6.80% of the total carbon dioxide currently emitted to heat and cool homes.

Abstract Southern crabgrass [Digitaria ciliaris (Retz.) Koeler] is an annual grass weed that commonly infests turfgrass, roadsides, wastelands, and cropping systems throughout the southeastern United States. Two biotypes of D. ciliaris (R1 and R2) with known resistance to cyclohexanediones (DIMs) and aryloxyphenoxypropionates (FOPs) previously collected from sod production fields in Georgia were compared with a separate susceptible biotype (S) collected from Alabama for the responses to pinoxaden and to explore the possible mechanisms of resistance. Increasing rates of pinoxaden (0.1 to 23.5 kg ha−1) were evaluated for control of R1, R2, and S. The resistant biotypes, R1 and R2, were resistant to pinoxaden relative to S. The S biotype was completely controlled at rates of 11.8 and 23.5 kg ha−1, resulting in no aboveground biomass at 14 d after treatment. Pinoxaden rates at which tiller length and aboveground biomass would be reduced 50% (I50) and 90% (I90) for R1, R2, and S ranged from 7.2 to 13.2 kg ha−1, 6.9 to 8.6 kg ha−1, and 0.7 to 2.1 kg ha−1, respectively, for tiller length, and 7.7 to 10.2 kg ha−1, 7.2 to 7.9 kg ha−1, and 1.6 to 2.3 kg ha−1, respectively, for aboveground biomass. Prior selection pressure from DIM and FOP herbicides could result in the evolution of D. ciliaris cross-resistance to pinoxaden herbicides. Amplification of the carboxyl-transferase domain of the plastidic ACCase by standard PCR identified a point mutation resulting in an Ile-1781-Leu amino acid substitution only for the resistant biotype, R1. Further cloning of PCR product surrounding the 1781 region yielded two distinct ACCase gene sequences, Ile-1781 and Leu-1781. The amino acid substitution, Ile-1781-Leu in both resistant biotypes (R1 and R2), however, was revealed by next-generation sequencing of RNA using Illumina platform. A point mutation in the Ile-1781 codon leading to herbicide insensitivity in the ACCase enzyme has been previously reported in other grass species. Our research confirms that the Ile-1781-Leu substitution is present in pinoxaden-resistant D. ciliaris.

Since its return in 2005 the science fiction series Doctor Who (BBC1) has featured many alien creatures which bear a striking similarity to non-human Earth species: the Judoon in “Smith and Jones” (2007) have heads like rhinoceroses; the nurses in “New Earth” (2006) are cats in wimples; the Tritovores in “Planet of the Dead” (2009) are giant flies in boilersuits. Yet only one non-human animal has appeared twice in the series, in unrelated stories: the pig. Furthermore, alien races such as the Judoon and the Tritovores simply happen to look like human species, and the series offers no narrative explanation as to why such similarities exist. When the pig has appeared, however, it has instead been as the consequence of experimentation and mutation, and in both cases the appearance of such porcine hybrids is signalled as horrific, unsettling and, in the end, to be pitied. The fact that the pig has appeared in this way twice suggests there is something about the human understanding of this animal which means it can fulfil a role in fiction unavailable to other Earth species. The pig’s appearance has been in two stories, both two-parters. In “Aliens of London”/“World War Three” (2005) a spaceship crashes into London’s Thames river, and the pilot inside, thought to be dead, is sent to be scientifically examined. Alone in the laboratory, the pathologist Doctor Sato is startled to find the creature is alive and, during its attempt to escape, it is shot by the military. When the creature is examined The Doctor reveals it is “an ordinary pig, from Earth.” He goes on to explain that, “someone’s taken a pig, opened up its brain, stuck bits on, then they’ve strapped it in that ship and made it dive-bomb. It must have been terrified. They’ve taken this animal and turned it into a joke.” The Doctor’s concern over the treatment of the pig mirrors his earlier reprimand of the military for shooting it; as he cradles the dying creature he shouts at the soldier responsible, “What did you do that for? It was scared! It was scared.” On the commentary track for the DVD release of this episode Julie Gardner (executive producer) and Will Cohen (visual effects producer) note how so many people told them they had a significant emotional reaction to this scene, with Gardner adding, “Bless the pig.” In that sense, what begins as a moment of horror in the series becomes one of empathy with a non-human being, and the pig moves from being a creature of terror to one whose death is seen to be an immoral act. This movement from horror to empathy can be seen in the pig’s other appearance, in “Daleks in Manhattan”/“Evolution of the Daleks” (2007). Here the alien Daleks experiment on humans in order to develop the ability to meld themselves with Earthlings, in order to repopulate their own dwindling numbers. Humans are captured and then tested; as Laszlo, one of the outcomes of the experimentation, explains, “They’re divided into two groups: high intelligence and low intelligence. The low intelligence are taken to becomes Pig Slaves, like me.” These Pig Slaves look and move like humans except for their faces, which have prolonged ears and the pig signifier of a snout. At no point in the story is it made clear why experimentations on low intelligence humans should result in them looking like pigs, and a non-hybrid pig is not seen throughout the story. The appearance of the experiments’ results is therefore not narratively explained, and it does not draw on the fact that “in digestive apparatus and nutrient requirements pigs resemble humans in more ways than any mammal except monkeys and apes, which is why pigs are much in demand for [human] medical research” (Harris 70); indeed, considering the story is set in the 1930s such a justification would be anachronistic. The use of the pig, therefore, draws solely on its cultural, not its scientific, associations. These associations are complex, and the pig has been used to connote many things in Western culture. Children’s books such as The Sheep-Pig (King-Smith) and Charlotte’s Web (White) suggest the close proximity of humans and pigs can result in an affinity capable of communication. The use of pigs to represent Poles in Maus: A Survivor’s Tale (Spiegelman), on the other hand, has been read as offensive, drawing on the animal’s association with dirt and greed (Weschler). These depictions are informed by debates about pigs in the real world, whereby an animal which, as mentioned above, is similar enough to humans to be useful in medical research can also, for the food industry, go through a slaughtering process described by Bob Torres as “horribly cruel” (47). Such cruelty can only be justified if the boundaries between the pig and the human are maintained, and this is why pig-human representations are capable of being shocking and horrific. The hybrid nature of the human-pig creature draws on the horror trope that Noël Carroll refers to as “fusion” which works because it “unites attributes held to be categorically distinct” such as “inside/outside, living/dead, insect/human, flesh/machine” (43). He explains that this is why characters in horror narratives do not find such creatures simply fearful, but also “repellent, loathsome, disgusting, repulsive and impure” (54); their failure to conform to accepted cultural categories destabilises assumed norms and, perhaps most horrifically, undermines ‘the human’ as a stable, natural and superior category. As Donna Haraway notes, “‘The species’ often means the human race, unless one is attuned to science fiction, where species abound” (18). Science fiction therefore commonly plays with ideas of species because it is often interested in “the image of the scientist ‘playing god’” (Jones 51) and the horrific outcomes of “the total severing of scientific concerns from ethical concerns” (53). That the result of human/non-human experimentation should be regarded as horrific is evidence of the need to maintain the distinctions between humans and other creatures; after all, a pig/human can only be thought of as horrific if it as assumed that there is something unnatural about the destabilisation of the human category. And it is precisely the human which matters in this equation; it is not really as if anyone cares about the pig’s categorical stability in all of this. In both these stories, the appearance of the pig-creature is narratively structured to be surprising and shocking, and is withheld from the audience for as long as possible. The first appearance of a Pig Slave in “Daleks in Manhattan” constitutes that episode’s pre-credits cliff-hanger, with the creature appearing out of the shadows and bearing down upon the camera, directly towards the audience viewing at home. At this point, the audience has no idea why such a creature exists; the meaning of the pig-human hybrid is contained purely in its visual appearance, with the horrific fact of its contradictory appearance perhaps drawing on the pig’s historical association with evil and the Devil (Sillar and Meyler 82). Similarly, in “Aliens of London” we see Sato’s shocked reaction to the pig far earlier than we actually see the creature ourselves, and Sato’s scream is clearly intended to construct what we have yet to encounter as horrific. The Doctor’s search for the creature is similarly signalled, as he roams dimly-lit corridors trying to find it, following the trail of the grunts and noises that it makes. That the pig might constitute a horrific—or at least unsettling—site for humans is unsurprising considering the cultural roles it has often played. There is, after all, an “opposition between civilization and piggishness” (Ashley, Hollows, Jones and Taylor 2) in which (incorrect) assumptions about pigs’ filthy behaviour helps mark out humanity’s cleaner and more civilised way of living. While this is true of all human/non-human interactions, it is argued that the pig occupies a particular role within this system as it is a “familiar beast” (4) because for centuries it has been a domesticated animal which has often lived alongside humans, usually in quite close proximity. In that sense, humans and pigs are very similar. Demarcating the human as a stable and natural “conceptual category ... in which we place all members of our own species and from which we exclude all non-members” (Milton 265-66) has therefore required the denigration of non-humans, at least partly to justify the dominion humans have decided they have the right to hold over other creatures such as pigs. The difficulties in maintaining this demarcation can be seen in the documentary The Private Life of Pigs (BBC2 2010) in which the farmer Jimmy Docherty carries out a number of tests on animals in order to better understand the ‘inner life’ of the pig. Docherty acknowledges the pig’s similarity to humans in his introductory piece to camera; “When you look in their piggy little eyes with their piggy little eyelashes you see something that reflects back to you—I don’t know—it makes you feel there’s a person looking back.” However, this is quickly followed by a statement which works to reassert the human/non-human boundary; “I know we have this close relationship [with pigs], but I’m often reminded that just beneath the surface of their skin, they’re a wild animal.” Perhaps the most telling revelation in the programme is that pigs have been found to make certain grunting noises only when humans are around, which suggests they have developed a language for ‘interacting’ with humans. That Docherty is uncomfortably startled by this piece of information shows how the idea of communication troubles ideas of human superiority, and places pigs within a sphere hitherto maintained as strictly human. Of course, humans often willingly share domestic spaces with other species, but these are usually categorised as pets. The pet exists “somewhere between the wild animal and the human” (Fudge 8), and we often invest them with a range of human characteristics and develop relationships with such animals which are similar, but not identical, to those we have with other humans. The pig, however, like other food animals, cannot occupy the role afforded to the pet because it is culturally unacceptable to eat pets. In order to legitimise the treatment of the pig as a “strictly utilitarian object; a thing for producing meat and bacon” (Serpell 7) it must be distinguished from the human realm as clearly as possible. It is worth noting, though, that this is a culturally-specific process; Dwyer and Minnegal, for example, show how in New Guinea “pigs commonly play a crucial role in ceremonial and spiritual life” (37-8), and the pig is therefore simultaneously a wild animal, a source of food, and a species with which humans have an “attachment” (45-54) akin to the idea of a pet. Western societies commonly (though not completely) have difficulty uniting this range of animal categories, and analogous ideas of “civilization” often rest on assumptions about animals which require them to play specific, non-human roles. That homo sapiens define their humanity in terms of civilization is demonstrated by the ways in which ideas of brutality, violence and savagery are displaced onto other species, often quite at odds with the truth of such species’ behaviour. The assumption that non-human species are violent, and constitute a threat, is shown in Doctor Who; the pig is shot in “Aliens of London” for assumed security reasons (despite it having done nothing to suggest it is a threat), while humans run in fear from the Pig Slaves in “Evolution of the Daleks” purely because of their non-human appearance. Mary Midgley refers to this as “the Beast Myth” (38) by which humans not only reduce other species to nothing other than “incarnations of wickedness, … sets of basic needs, … crude mechanical toys, … [and] idiot children” (38), but also lump all non-human species together thereby ignoring the specificity of any particular species. Midgley also argues that “man shows more savagery to his own kind than most other mammal species” (27, emphasis in original), citing the need for “law or morality to restrain violence” (26) as evidence of the social structures required to uphold a myth of human civilization. In that sense, the use of pigs in Doctor Who can be seen as conforming to centuries-old depictions of non-human species, by which the loss of humanity symbolised by other species can be seen as the ultimate punishment. After all, when the Daleks’ human helper, Mr Diagoras, fears that the aliens are going to experiment on him, he fearfully exclaims, “What do you mean? Like those pig-men things? You’re not going to turn me into one of those? Oh, God, please don’t!” In the next episode, when all the Pig Slaves are killed by the actions of the Doctor’s companion Martha, she regrets her actions, only to be told, “No. The Daleks killed them. Long ago”, for their mutation into a ‘pig-man thing’ is seen to be a more significant loss of humanity than death itself. The scene highlights how societies are often “confused about the status of such interspecies beings” (Savulescu 25). Such confusion is likely to recur considering we are moving into a “posthumanist” age defined by the “decentering of the human” (Wolfe xv), whereby critiques of traditional cultural categories, alongside scientific developments that question the biological certainty of the human, result in difficulties in defining precisely what it is that is supposedly so special about homo sapiens. This means that it is far too easy to write off these depictions in Doctor Who as merely drawing on, and upholding, those simplistic and naturalised human/non-human distinctions which have been criticised, in a manner similar to sexism and racism, as “speciesist” (Singer 148-62). There is, after all, consistent sympathy for the pig in these episodes. The shooting of the pig in “Aliens of London” is outrageous not merely because it gives evidence of the propensity of human violence: the death of the pig itself is presented as worth mourning, in a manner similar to the death of any living being. Throughout the series the Doctor is concerned over the loss of life for any species, always aiming to find a non-violent method for solving conflicts and repeatedly berating other characters who resort to bloodshed for solutions. Indeed, the story’s narrative can be read as one in which the audience is invited to reassess its own response to the pig’s initial appearance, shifting from fear at its alien-ness to sympathy for its demise. This complication of the cultural meanings of pigs is taken even further in the two-part Dalek story. One of the key plots of the story is the relationship between Laszlo, who has been transmuted into a Pig Slave, and his former lover Tallulah. Tallulah spends much of the story thinking Laszlo has disappeared, when he has, in fact, gone into hiding, certain that she will reject him because of his post-experimentation porcine features. When they finally reunite, Laszlo apologises for what has happened to him, while Tallulah asks, “Laszlo? My Laszlo? What have they done to you?” At the end of the story they decide to try re-establishing their relationship, despite Laszlo’s now-complicated genetic make-up. In response to this Martha asks the Doctor, “Do you reckon it’s going to work, those two?” The Doctor responds that while such an odd pairing might be problematic pretty much anywhere else, as they were in New York they might just get away with it. He reflects, “That’s what this city’s good at. Give me your tired, your poor, your huddled masses, and maybe the odd Pig Slave Dalek mutant hybrid too.” While there is an obvious playfulness to this scene, with the programme foregrounding the kinds of narrative available to the science fiction genre, it is also clear that we are invited to find this a good narrative conclusion, a suitable resolution to all that has preceded it. In that sense, the pig and the human come together, dissolving the human/non-human divide at a stroke, and this is offered to the audience as something to be pleased about. In both narratives, then, the pig moves from being understood as alien and threatening to something if not quite identical to human, then certainly akin to it. Certainly, the narratives suggest that the lives, loves and concerns of pigs—even if they have been experimented upon—matter, and can constitute significant emotional moments in primetime mainstream family television. This development is a result of the text’s movement from an interest in the appearance of the pig to its status as a living being. As noted above, the initial appearances of the pigs in both stories is intended to be frightening, but such terror is dependent on understanding non-human species by their appearance alone. What both of these stories manage to do is suggest that the pig—like all non-human living things, whether of Earth or not—is more than its physical appearance, and via acknowledgment of its own consciousness, and its own sense of identity, can become something with which humans are capable of having sympathy; perhaps more than that, that the pig is something with which humans should have sympathy, for to deny the interior life of such a species is to engage in an inhuman act in itself. This could be seen as an interesting—if admittedly marginal—corrective to the centuries of cultural and physical abuse the pig, like all animals, has suffered. Such representations can be seen as evoking “the dreaded comparison” (Spiegel) which aligns maltreatment of animals with slavery, a comparison that is dreaded by societies because to acknowledge such parallels makes justifying humans’ abusive treatment of other species very difficult. These two Doctor Who stories repeatedly make such comparisons, and assume that to morally and emotionally distinguish between living beings based on categories of species is nonsensical, immoral, and fails to acknowledge the significance and majesty of all forms of life. That we might, as Gardner suggests, “Bless the pig”—whether it has had its brain stuffed full of wires or been merged with a human—points towards complex notions of human/non-human interaction which might helpfully destabilise simplistic ideas of the superiority of the human race. References Ashley, Bob, Joanne Hollows, Steve Jones and Ben Taylor. Food and Cultural Studies. London and New York: Routledge, 2004. Carroll, Noël. The Philosophy of Horror, or, Paradoxes of the Heart. New York and London: Routledge, 1990. Dwyer, Peter D. and Monica Minnegal. “Person, Place or Pig: Animal Attachments and Human Transactions in New Guinea.” Animals in Person: Cultural Perspectives on Human-Animal Intimacies. Ed. John Knight. Oxford and New York: Berg, 2005. 37-60. Fudge, Erica. Pets. Stocksfield: Acumen, 2008. Haraway, Donna J. When Species Meet. Minneapolis and London: University of Minnesota Press, 2008. Harris, Marvin. “The Abominable Pig.” Food and Culture: A Reader. Ed. Carole Counihan and Penny Van Esterik. New York and London: Routledge, 1997. 67-79. Jones, Darryl. Horror: A Thematic History in Fiction and Film. London: Arnold, 2002. King-Smith, Dick. The Sheep-Pig. London: Puffin, 1983. Midgley, Mary. Beast and Man. London and New York: Routledge, 1979/2002. Milton, Kay. “Anthropomorphism or Egomorphism? The Perception of Non-Human Persons by Human Ones.” Animals in Person: Cultural Perspectives on Human-Animal Intimacies. Ed. John Knight. Oxford and New York: Berg, 2005. 255-71. Savulescu, Julian. “Human-Animal Transgenesis and Chimeras Might be an Expression of our Humanity.” The American Journal of Bioethics 3.3 (2003): 22-5. Serpell, James. In the Company of Animals: A Study of Human-Animal Relationships. Cambridge: Cambridge University Press, 1996. Sillar, Frederick Cameron and Ruth Mary Meyler. The Symbolic Pig: An Anthology of Pigs in Literature and Art. Edinburgh and London: Oliver and Boyd, 1961. Singer, Peter. “All Animals are Equal.” Animal Rights and Human Obligations. Ed. Tom Regan and Peter Singer. New Jersey: Prentice-Hall, 1989. 148-62. Spiegel, Marjorie. The Dreaded Comparison: Human and Animal Slavery. London and Philadelphia: Heretic Books, 1988. Speigelman, Art. Maus: A Survivor’s Tale. New York: Pantheon Books, 1986/1991. Torres, Bob. Making a Killing: The Political Economy of Animal Rights. Edinburgh, Oakland and West Virginia: AK Press, 2007. Weschler, Lawrence. “Pig Perplex.” Lingua France: The Review of Academic Life 11.5 (2001): 6-8. White, E.B. Charlotte’s Web. London: Harper Collins, 1952. Wolfe, Cary. What is Posthumanism? Minneapolis and London: University of Minnesota Press, 2010.

Many years ago, while studying in Paris as a novice postgraduate, I was invited to accompany a friend to a seminar with Jacques Derrida. I leapt at the chance even though I was only just learning French. Although I tried hard to follow the discussion, the extent of my participation was probably signing the attendance sheet. Afterwards, caught up on the edges of a small crowd of acolytes in the foyer as we waited out a sudden rainstorm, Derrida turned to me and charmingly complimented me on my forethought in predicting rain, pointing to my umbrella. Flustered, I garbled something in broken French about how I never forgot my umbrella, how desolated I was that he had mislaid his, and would he perhaps desire mine? After a small silence, where he and the other students side-eyed me warily, he declined. For years I dined on this story of meeting a celebrity academic, cheerfully re-enacting my linguistic ineptitude. Nearly a decade later I was taken aback when I overheard a lecturer in philosophy at the University of Sydney re-telling my encounter as a witty anecdote, where an early career academic teased Derrida with a masterful quip, quoting back to him his own attention to someone else’s quote. It turned out that Spurs, one of Derrida’s more obscure early essays, employs an extended riff on an inexplicable citation found in inverted commas in the margins of Nietzsche’s papers: “J’ai oublié mon parapluie” (“I have forgotten my umbrella”). My clumsy response to a polite enquiry was recast in a process of Chinese whispers in my academic community as a snappy spur-of-the-moment witticism. This re-telling didn’t just selectively edit my encounter, but remixed it with a meta-narrative that I had myself referenced, albeit unknowingly. My ongoing interest in the more playful breaches of scholarly conventions of quotation and attribution can be traced back to this incident, where my own presentation of an academic self was appropriated and remixed from fumbler to quipster. I’ve also been struck throughout my teaching career by the seeming disconnect between the stringent academic rules for referencing and citation and the everyday strategies of appropriation that are inherent to popular remix culture. I’m taking the opportunity in this paper to reflect on the practice of scholarly quotation itself, before examining some recent creative provocations to the academic ‘author’ situated inventively at the crossroad between scholarly convention and remix culture. Early in his own teaching career at Oxford University Lewis Carroll, wrote to his younger siblings describing the importance of maintaining his dignity as a new tutor. He outlines the distance his college was at pains to maintain between teachers and their students: “otherwise, you know, they are not humble enough”. Carroll playfully describes the set-up of a tutor sitting at his desk, behind closed doors and without access to today’s communication technologies, relying on a series of college ‘scouts’ to convey information down corridors and staircases to the confused student waiting for instruction below. The lectures, according to Carroll, went something like this: Tutor: What is twice three?Scout: What’s a rice-tree?Sub-scout: When is ice free?Sub-sub-scout: What’s a nice fee??Student (timidly): Half a guinea.Sub-sub-scout: Can’t forge any!Sub-scout: Ho for jinny!Scout: Don’t be a ninny!Tutor (looking offended, tries another question): Divide a hundred by twelve.Scout: Provide wonderful bells!Sub-scout: Go ride under it yourself!Sub-sub-scout: Deride the dunderhead elf!Pupil (surprised): What do you mean?Sub-sub-scout: Doings between!Sub-scout: Blue is the screen!Scout: Soup tureen! And so the lecture proceeds… Carroll’s parody of academic miscommunication and misquoting was reproduced by Pierre Bourdieu at the opening of the book Academic Discourse to illustrate the failures of pedagogical practice in higher education in the mid 1960s, when he found scholarly language relied on codes that were “destined to dazzle rather than to enlighten” (3). Bourdieu et al found that students struggled to reproduce appropriately scholarly discourse and were constrained to write in a badly understood and poorly mastered language, finding reassurance in what he called a ‘rhetoric of despair’: “through a kind of incantatory or sacrificial rite, they try to call up and reinstate the tropes, schemas or words which to them distinguish professorial language” (4). The result was bad writing that karaoke-ed a pseudo academic discourse, accompanied by a habit of thoughtlessly patching together other peoples’ words and phrases. Such sloppy quoting activities of course invite the scholarly taboo of plagiarism or its extreme opposite, hypercitation. Elsewhere, Jacques Derrida developed an important theory of citationality and language, but it is intriguing to note his own considerable unease with conventional acknowledgement practices, of quoting and being quoted: I would like to spare you the tedium, the waste of time, and the subservience that always accompany the classic pedagogical procedures of forging links, referring back to past premises or arguments, justifying one’s own trajectory, method, system, and more or less skilful transitions, re-establishing continuity, and so on. These are but some of the imperatives of classical pedagogy with which, to be sure, one can never break once and for all. Yet, if you were to submit to them rigorously, they would very soon reduce you to silence, tautology and tiresome repetition. (The Ear of the Other, 3) This weariness with a procedural hyper-focus on referencing conventions underlines Derrida’s disquiet with the self-protecting, self-promoting and self-justifying practices that bolster pedagogical tradition and yet inhibit real scholarly work, and risk silencing the authorial voice. Today, remix offers new life to quoting. Media theorist Lev Manovich resisted the notion that the practice of ‘quotation’ was the historical precedent for remixing, aligning it instead to the authorship practice of music ‘sampling’ made possible by new electronic and digital technology. Eduardo Navas agrees that sampling is the key element that makes the act of remixing possible, but links its principles not just to music but to the preoccupation with reading and writing as an extended cultural practice beyond textual writing onto all forms of media (8). A crucial point for Navas is that while remix appropriates and reworks its source material, it relies on the practice of citation to work properly: too close to the original means the remix risks being dismissed as derivative, but at the same time the remixer can’t rely on a source always being known or recognised (7). In other words, the conceptual strategies of remix must rely on some form of referencing or citation of the ideas it sources. It is inarguable that advances in digital technologies have expanded the capacity of scholars to search, cut/copy & paste, collate and link to their research sources. New theoretical and methodological frameworks are being developed to take account of these changing conditions of academic work. For instance, Annette Markham proposes a ‘remix methodology’ for qualitative enquiry, arguing that remix is a powerful tool for thinking about an interpretive and adaptive research practice that takes account of the complexity of contemporary cultural contexts. In a similar vein Cheré Harden Blair has used remix as a theoretical framework to grapple with the issue of plagiarism in the postmodern classroom. If, following Roland Barthes, all writing is “a tissue of quotations drawn from innumerable centers of culture” (146), and if all writing is therefore rewriting, then punishing students for plagiarism becomes problematic. Blair argues that since scholarly writing has become a mosaic of digital and textual productions, then teaching must follow suit, especially since teaching, as a dynamic, shifting and intertextual enterprise, is more suited to the digital revolution than traditional, fixed writing (175). She proposes that teachers provide a space in which remixing, appropriation, patch-writing and even piracy could be allowable, even useful and productive: “a space in which the line is blurry not because students are ignorant of what is right or appropriate, or because digital text somehow contains inherent temptations to plagiarise, but because digital media has, in fact, blurred the line” (183). The clashes between remix and scholarly rules of attribution are directly addressed by the pedagogical provocations of conceptual poet Kenneth Goldsmith, who has developed a program of ‘uncreative writing’ at the University of Pennsylvania, where, among other plagiaristic tasks, he forces students to transcribe whole passages from books, or to download essays from online paper mills and defend them as their own, marking down students who show a ‘shred of originality’. In his own writing and performances, which depend almost exclusively on strategies of appropriation, plagiarism and recontextualisation of often banal sources like traffic reports, Goldsmith says that he is working to de-familiarise normative structures of language. For Goldsmith, reframing language into another context allows it to become new again, so that “we don’t need the new sentence, the old sentence re-framed is good enough”. Goldsmith argues for the role of the contemporary academic and creative writer as an intelligent agent in the management of masses of information. He describes his changing perception of his own work: “I used to be an artist, then I became a poet; then a writer. Now when asked, I simply refer to myself as a word processor” (Perloff 147). For him, what is of interest to the twenty-first century is not so much the quote that ‘rips’ or tears words out of their original context, but finding ways to make new ‘wholes’ out of the accumulations, filterings and remixing of existing words and sentences. Another extraordinary example of the blurring of lines between text, author and the discursive peculiarities of digital media can be found in Jonathan Lethem’s essay ‘An Ecstasy of Influence: A Plagiarism’, which first appeared in Harpers Magazine in 2007. While this essay is about the topic of plagiarism, it is itself plagiarized, composed of quotes that have been woven seamlessly together into a composite whole. Although Lethem provides a key at the end with a list of his sources, he has removed in-text citations and quotation marks, even while directly discussing the practices of mis-quotation and mis-attribution throughout the essay itself. Towards the end of the essay can be found the paragraph: Any text is woven entirely with citations, references, echoes, cultural languages, which cut across it through and through in a vast stereophony. The citations that go to make up a text are anonymous, untraceable, and yet already read; they are quotations without inverted commas. The kernel, the soul — let us go further and say the substance, the bulk, the actual and valuable material of all human utterances — is plagiarism. …By necessity, by proclivity, and by delight, we all quote. Neurological study has lately shown that memory, imagination, and consciousness itself is stitched, quilted, pastiched. If we cut-and-paste ourselves, might we not forgive it of our artworks? (68) Overall, Lethem’s self-reflexive pro-plagiarism essay reminds the reader not only of how ideas in literature have been continuously recycled, quoted, appropriated and remixed, but of how open-source cultures are vital for the creation of new works. Lethem (re)produces rather than authors a body of text that is haunted by ever present/absent quotation marks and references. Zara Dinnen suggests that Lethem’s essay, like almost all contemporary texts produced on a computer, is a provocation to once again re-theorise the notion of the author, as not a rigid point of origin but instead “a relay of alternative and composite modes of production” (212), extending Manovich’s notion of the role of author in the digital age of being perhaps closest to that of a DJ. But Lethem’s essay, however surprising and masterfully intertextual, was produced and disseminated as a linear ‘static’ text. On the other hand, Mark Amerika’s remixthebook project first started out as a series of theoretical performances on his Professor VJ blog and was then extended into a multitrack composition of “applied remixology” that features sampled phrases and ideas from a range of artistic, literary, musical, theoretical and philosophical sources. Wanting his project to be received not as a book but as a hybridised publication and performance art project that appears in both print and digital forms, remixthebook was simultaneously published in a prestigious university press and a website that works as an online hub and teaching tool to test out the theories. In this way, Amerika expands the concept of writing to include multimedia forms composed for both networked environments and also experiments with what he terms “creative risk management” where the artist, also a scholar and a teacher, is “willing to drop all intellectual pretence and turn his theoretical agenda into (a) speculative play” (xi). He explains his process halfway through the print book: Other times we who create innovative works of remix artare fully self-conscious of the rival lineagewe spring forth fromand knowingly take on other remixological styles just to seewhat happens when we move insideother writers’ bodies (of work)This is when remixologically inhabitingthe spirit of another writer’s stylistic tendenciesor at least the subconsciously imagined writerly gesturesthat illuminate his or her live spontaneous performancefeels more like an embodied praxis In some ways this all seems so obvious to me:I mean what is a writer anyway buta simultaneous and continuous fusion ofremixologically inhabited bodies of work? (109) Amerika mashes up the jargon of academic writing with avant-pop forms of digital rhetoric in order to “move inside other writers’ bodies (of work)” in order to test out his theoretical agenda in an “embodied praxis” at the same time that he shakes up the way that contemporary scholarship itself is performed. The remixthebook project inevitably recalls one of the great early-twentieth century plays with scholarly quotation, Walter Benjamin’s The Arcades Project. Instead of avoiding conventional quoting, footnoting and referencing, these are the very fabric of Benjamin’s sprawling project, composed entirely of quotes drawn from nineteenth century philosophy and literature. This early scholarly ‘remixing’ project has been described as bewildering and oppressive, but which others still find relevant and inspirational. Marjorie Perloff, for instance, finds the ‘passages’ in Benjamin’s arcades have “become the digital passages we take through websites and YouTube videos, navigating our way from one Google link to another and over the bridges provided by our favourite search engines and web pages" (49). For Benjamin, the process of collecting quotes was addictive. Hannah Arendt describes his habit of carrying little black notebooks in which "he tirelessly entered in the form of quotations what daily living and reading netted him in the way of 'pearls' and 'coral'. On occasion he read from them aloud, showed them around like items from a choice and precious collection" (45). A similar practice of everyday hypercitation can be found in the contemporary Australian performance artist Danielle Freakley’s project, The Quote Generator. For what was intended in 2006 to be a three year project, but which is still ongoing, Freakley takes the delirious pleasure of finding and fitting the perfect quote to fit an occasion to an extreme. Unlike Benjamin, Freakley didn’t collect and collate quotes, she then relied on them to navigate her way through her daily interactions. As The Quote Generator, Freakley spoke only in quotations drawn from film, literature and popular culture, immediately following each quote with its correct in-text reference, familiar to academic writers as the ‘author/date’ citation system. The awkwardness and seeming artificiality of even short exchanges with someone who responds only in quotes might be bewildering enough, but the inclusion of the citation after the quote maddeningly interrupts and, at the same time, adds another metalevel to a conversation where even the simple platitude ‘thank you’ might be followed by an attribution to ‘Deep Throat 1972’. Longer exchanges become increasingly overwhelming, as Freakley’s piling of quote on quote, and sometimes repeating quotes, demands an attentive listener, as is evident in a 2008 interview with Andrew Denton on the ABC’s Enough Rope: Andrew Denton’s Enough Rope (2008) Denton: So, you’ve been doing this for three years??Freakley: Yes, Optus 1991Denton: How do people respond to you speaking in such an unnatural way?Freakley: It changes, David Bowie 1991. On the streets AKA Breakdance 1984, most people that I know think that I am crazy, Billy Thorpe 1972, a nigger like me is going insane, Cyprus Hill 1979, making as much sense as a Japanese instruction manual, Red Dwarf 1993. Video documentation of Freakley’s encounters with unsuspecting members of the public reveal how frustrating the inclusion of ‘spoken’ references can be, let alone how taken aback people are on realising they never get Freakley’s own words, but are instead receiving layers of quotations. The frustration can quickly turn hostile (Denton at one point tells Freakley to “shut up”) or can prove contaminatory, as people attempt to match or one-up her quotes (see Cook's interview 8). Apparently, when Freakley continued her commitment to the performance at a Perth Centerlink, the staff sent her to a psychiatrist and she was diagnosed with an obsessive-compulsive disorder, then prescribed medication (Schwartzkoff 4). While Benjamin's The Arcades Project invites the reader to scroll through its pages as a kind of textual flaneur, Freakley herself becomes a walking and talking word processor, extending the possibilities of Amerika’s “embodied praxis” in an inescapable remix of other people’s words and phrases. At the beginning of the project, Freakley organised a card collection of quotes categorised into possible conversation topics, and devised a ‘harness’ for easy access. Image: Danielle Freakley’s The Quote Generator harness Eventually, however, Freakley was able to rely on her own memory of an astounding number of quotations, becoming a “near mechanical vessel” (Gottlieb 2009), or, according to her own manifesto, a “regurgitation library to live by”: The Quote Generator reads, and researches as it speaks. The Quote Generator is both the reader and composer/editor. The Quote Generator is not an actor spouting lines on a stage. The Quote Generator assimilates others lines into everyday social life … The Quote Generator, tries to find its own voice, an understanding through throbbing collations of others, constantly gluttonously referencing. Much academic writing quotes/references ravenously. New things cannot be said without constant referral, acknowledgement to what has been already, the intricate detective work in the barking of the academic dog. By her unrelenting appropriation and regurgitating of quotations, Freakley uses sampling as a technique for an extended performance that draws attention to the remixology of everyday life. By replacing conversation with a hyper-insistence on quotes and their simultaneous citation, she draws attention to the artificiality and inescapability of the ‘codes’ that make up not just ordinary conversations, but also conventional academic discourse, what she calls the “barking of the academic dog”. Freakley’s performance has pushed the scholarly conventions of quoting and referencing to their furthest extreme, in what has been described by Daine Singer as a kind of “endurance art” that relies, in large part, on an antagonistic relationship to its audience. In his now legendary 1969 “Double Session” seminar, Derrida, too, experimented with the pedagogical performance of the (re)producing author, teasing his earnest academic audience. It is reported that the seminar began in a dimly lit room lined with blackboards covered with quotations that Derrida, for a while, simply “pointed to in silence” (177). In this seminar, Derrida put into play notions that can be understood to inform remix practices just as much as they do deconstruction: the author, originality, mimesis, imitation, representation and reference. Scholarly conventions, perhaps particularly the quotation practices that insist on the circulation of rigid codes of attribution, and are defended by increasingly out-of-date understandings of contemporary research, writing and teaching practices, are ripe to be played with. Remix offers an expanded discursive framework to do this in creative and entertaining ways. References Amerika, Mark. remixthebook. Minneapolis: University of Minnesota Press, 2011. 29 July 2013 http://www.remixthebook.com/. Arendt, Hannah. “Walter Benjamin: 1892-1940.” In Illuminations. New York, NY: Shocken, 1969: 1-55. Barthes, Roland. “The Death of the Author.” Image Music Text. Trans Stephen Heath. New York: Hill and Wang, 1977: 142-148. Benjamin, Walter. The Arcades Project. Ed. Rolf Tiedemann, trans. Howard Eiland & Kevin McLaughlin. Cambridge, MA: Harvard University Press, 1999. Blaire, Cheré Harden. “Panic and Plagiarism: Authorship and Academic Dishonesty in a Remix Culture.” Media Tropes 2.1 (2009): 159-192. Bourdieu, Pierre, Jean-Claude Passeron, and Monique de Saint Martin. Academic Discourse: Linguistic Misunderstanding and Professorial Power. Trans. Richard Teese. Stanford California: Stanford University Press, 1965. Carroll, Lewis (Charles Dodgson). “Letter to Henrietta and Edwin Dodgson 31 Jan 1855”. 15 July 2013 http://en.wikiquote.org/wiki/Letters_of_Lewis_Carroll. Cook, Richard. “Don’t Quote Me on That.” Time Out Sydney (2008): 8. http://rgcooke.wordpress.com/2008/02/13/interview-danielle-freakley.Denton, Andrew. “Interview: The Quote Generator.” Enough Rope. 29 Feb. 2008. ABC TV. 15 July 2013 http://www.youtube.com/watch?v=AsrGvwXsenE. Derrida, Jacques. Spurs, Nietzsche’s Styles. Trans. Barbara Harlow. London: University of Chicago Press, 1978. Derrida, Jacques. The Ear of the Other: Otobiography, Text, Transference. Trans Peggy Kampf. New York: Shocken Books, 1985. Derrida, Jacques. “The Double Session”. Dissemination. Trans Alan Bass, Chicago, University of Chicago Press, 1981. Dinnen, Zara. "In the Mix: The Potential Convergence of Literature and New Media in Jonathan Letham's 'The Ecstasy of Influence'". Journal of Narrative Theory 42.2 (2012). Freakley, Danielle. The Quote Generator. 2006 to present. 10 July 2013 http://www.thequotegenerator.com/. Goldsmith, Kenneth. Uncreative Writing. New York: University of Colombia Press 2011. Gottlieb, Benjamin. "You Shall Worship No Other Artist God." Art & Culture (2009). 15 July 2013 http://www.artandculture.com/feature/999. Lethem, Jonathan. “The Ecstasy of Influence: A Plagiarism.” Harper’s Magazine, Feb. 2007: 59-71. http://harpers.org/archive/2007/02/the-ecstasy-of-influence/. Manovich, Lev. "What Comes after Remix?" 2007. 15 July 2013 http://manovich.net/LNM/index.html. Markham, Annette. “Remix Methodology.” 2013. 9 July 2013 http://www.markham.internetinquiry.org/category/remix/.Morris, Simon (dir.). Sucking on Words: Kenneth Goldsmith. 2007. http://www.ubu.com/film/goldsmith_sucking.html.Navas, Eduardo. Remix Theory: The Aesthetics of Sampling. New York: Springer Wein, 2012. Perloff, Marjorie. Unoriginal Genius: Poetry by Other Means in the New Century. Chicago: University of Chicago Press, 2010. Schwartzkoff, Louise. “Art Forms Spring into Life at Prima Vera.” Sydney Morning Herald 19 Sep. 2008: Entertainment, 4. http://www.smh.com.au/news/entertainment/arts/art-forms-spring-into-life-at-primavera/2008/09/18/1221331045404.html.Singer, Daine (cur.). “Pains in the Artists: Endurance and Suffering.” Blindside Exhibition. 2007. 2 June 2013 http://www.blindside.org.au/2007/pains-in-the-artists.shtml.