Journal articles on the topic 'Finalist imperative'

Today, the idea of communication is as diverse as the goals for learning. Speech is one of presentational information in oral format which can be needs to have the 21st century skill. Language of speech distinguishes grammatical moods. The speeches in the top 10 finalists of Miss Grand International 2020 was chosen to analyze the realization of speech functions and mood system. Non-participatory observation, selecting the media and classifying the subject of the research, and literature review were steps to collect the data. Analysis data was interpreted and reported in qualitative procedures. It was illuminated that the finalist of Malaysia mostly showed offer among other finalists. The finalist of Guatemala delivered mostly the command. The finalist of Indonesia was counted as the most produced statement. The questions were produced mostly by the finalist of Malaysia and the finalist of Argentina. The use of declarative mood was mostly made by the finalist of Malaysia. The polar interrogative was turned by the finalist of Argentina. Moreover, the imperative was mostly produced by the finalist of Czech Republic. Thus, the statement of speech functions was congruent with declarative of mood system. Likewise, command showed the congruency of imperative. Implementing speech in the English classroom can build students’ confidence and interest in enhancing their public speaking skill. Furthermore, the research under topic speech in the pageant can help to analyze someone’s culture from the speech pattern, accents, vocabulary, and dialect. By this way, the research was conducted to be beneficial for learning language development.

The paper syntactically and semantically analyzes the constructions of the doubled imper- ative in which the second imperative has a final meaning only recognized in the latest syntac- tic literature, which is confirmed by the substitution of the imperative by the final infinitive and the final da-present-tense clause which is always possible, such as: Idi kupi [→ kupiti / da kupiš] novine. The basic question to be answered in the paper is: how, and in which syntac- tic-semantic conditions, is it possible that two finite verb forms separated neither by conjunc- tions, nor by punctuation, form a very specific asyndetic construction which is subordinate in its semantic status, and whose only conjunctive equivalent syntactically is a coordinated copulative sentence. In the conducted analysis the characteristics of doubled imperatives, unseparated or sepa- rated by commas were interrelated. Doubled comma-separated imperatives represent asyndetic copulative sentences. Thanks to the semantic correlation of imperative verbs, these sentences represent a special semantic subtype of copulative sentences: independent asyndetic and/or syn- detic copulative sentences with final meaning (e.g. Dođi, jedi / Dođi i jedi). The meaning of finality is thus, within an independent compound sentence, only a subtype of copulative meaning. The constructions of doubled imperatives not separated by commas represent a unique case of structurally subordinated constructions in the Serbian language. They are structured as dependent syntagms, since the second imperative performs the function of an adverbial complement or goal determination, just as the one the semantically equivalent final infinitive does, too. These constructions are synonymous constructions with three imperative particles: hajde, daj and de(der), due to the fact that these particles appear in the meaning of the imper- atives idi, pođi, dođi and the like (cf. Hajde / daj / deder donesi vode → Idi / pođi / kreni don- esi vode). Having in mind that imperative particles form a compact intonation unit with the imperative verb following them, then there is no justification to separate the imperative par- ticle from the verb in the imperative with a comma in writing. Since imperative particles are pragmatically synonymous with basic verbs of movement - this equivalence is also transferred to writing: no comma or any other punctuation mark is placed between the doubled imperatives. It is this fact that enables the final interpretation of the second imperative in the constructions of the doubled or reduplicated imperative. And its final meaning is confirmed by the possibil- ity of substitution by a final infinitive and/or a final da-present-tense clause without changing the meaning of the utterance.

Este texto inicia com uma análise das normas constitucionais relacionadas ao devido processo legal, focando especificamente na avaliação de provas judiciais. O objetivo é determinar se é viável um sistema de avaliação baseado predominantemente na subjetividade ou persuasão, onde o sucesso da prova depende da capacidade de convencer o juiz. Após examinar essa abordagem, argumenta-se que a Constituição vai além de requerer uma avaliação lógica das provas; ela impõe um dever de aprimoramento do sistema judiciário, orientado para a prevenção de erros judiciais. O artigo finaliza apresentando duas estratégias possíveis para estabelecer uma responsabilidade focada na prevenção de erros.

O trabalho apresenta uma análise acerca da gratuidade judicial como instrumento do direito de acesso à justiça e a crise existente em razão do uso abusivo do benefício ladeado a preocupações de cunho econômico, estrutural e de elevação do número de processos judiciais. Passa-se a evocar a vigência do Estado Democrático e Social de Direito, debatendo-se questões no sentido de limitação da gratuidade judicial pelos problemas havidos. O estudo finaliza apontando a necessidade de se combater os abusos na utilização da gratuidade, que deve ser realizado por todos os operadores do direito, sobretudo no controle judicial efetivo para que se dê a (não) concessão de forma responsável, inclusive com a adoção de critérios mais objetivos, contudo, sem se descuidar da importância do mecanismo para o acesso à justiça, da imperativa aplicação do princípio da proibição do retrocesso e a preservação do núcleo essencial do direito fundamental.

Este artigo tem como objetivo situar as novas modalidades de uso dos repertórios interpretativos sobre risco, especialmente no que se refere à perspectiva da aventura. Propõe que, como aventura, a linguagem do risco cumpre atualmente funções múltiplas, sendo tanto um anteparo aos processos de destradicionalização típicos da modernidade tardia, como uma figura de linguagem utilizada para falar de novas sensibilidades decorrentes do imperativo de enfrentar a imponderabilidade e volatilidade dos riscos modernos. Inicia com uma visão panorâmica dos sentidos históricos do risco buscando argumentar que a noção, entendida na perspectiva da linguagem em uso, permite explorar as mudanças que vêm ocorrendo nas formas de controle social que nos possibilitam falar de uma transição da sociedade disciplinar, formação típica da modernidade clássica, para a sociedade de risco, formação emergente na modernidade tardia. Finaliza apontando para as transformações que vêm ocorrendo nas imagens sobre risco, buscando destacar o uso crescente do risco-aventura como metáfora da modernidade tardia.

Antes el imperativo legal de desarrolloar una prueba inicial de medición y orientación previa al ingreso a los estudios superiores (Ley 139-01), el autor propone a SEESCYT, dadas las condiciones educativas de la República Dominicana, evaluar el constructo Inteligencia Académica. Para probar la adecuación de este tipo de evaluación el autor construye un instrumento de medida, el AUID que es aplicado a una muestra de 402 alumnos de primer año de ingreso a las universidades dominicanas. Este trabajo viene a ser la presentación de las fases metodológicas utilizadas en el proceso de construcción de esta prueba, tales como : la definición de atributos, el desarrollo el modelo de procesamiento, la aplicación piloto de la prueba experimental a la muestra, así como los análisis psicométricos adecuados con los resultados del IAUD. El autor efectúa, también, estudios comparativos entre las instituciones evaluadas tanto en el dominio de los contenidos académicos adoptados, como en el nivel de desarrollo de los procesos mentales básicos. Finaliza el artículo haciendo algunas recomendaciones importantes para la construcción de la prueba definitiva, caso de aceptarse su proposición.

El trabajo muestra cómo algunos representantes de la ética filosófica contemporánea no han salvado las dificultades que inauguró el imperativo categórico kantiano, derivando en una unilateralización de los principios de individualización o de universalización. Que esto es así, y que puede ser corregido sin excluir o postergar ninguno de esas exigencias es un aporte relevante de la “ética convergente” desarrollada por el filósofo argentino Ricardo Maliandi. En este escrito reconstruyo aspectos fundamentales de aquellas dificultades y de este programa de investigación desde la perspectiva de la consideración antagónica de lo individual y lo universal. Se verá que esta oposición es, para Maliandi, sólo un aspecto de la conflictividad del ethos, y de qué modo su esclarecimiento se alcanza mostrando, por medio de un recurso novedoso en el análisis ético, que los principios no sólo chocan entre ellos, sino que también se oponen a otros sentidos que le son inherentes en lo que ordenan. El trabajo finaliza con una valoración personal acerca del aporte realizado por la ética convergente.

This paper argues that there is a phonological opposition between falling and non-falling utterance-terminal tunes in East Norwegian intonation. East Norwegian intonational foci are characterized by a rising pitch movement and there is no way that you can raise the pitch even further to express “rising intonation”. What you obtain instead is a distinction between a focal rise followed by a terminal fall in pitch and a focal rise without a subsequent falling terminal. The falling vs. non-falling terminal contrast is utilized differently in Intonation Units (IUs) with just one Intonational Phrase (IP) than in IUs with more than one Intonational Phrase. In the former type of IU structure a falling terminal constrains the illocutionary potential of the communicative act; in the latter type the falling terminal adds an attitudinal bias, without constraining the illocutionary potential. While most non-falling and falling terminals in connected discourse can ultimately be related to the difference between “openness” and “finality”, respectively, this intonational contrast is shown to have a seemingly quite different function in imperatives.

Este trabajo anticipa otro en desarrollo, de ahí que sus límites sean evidentes. En él se inquiere por las posibilidades teóricas de postular relaciones supradisciplinares a partir de los saberes que se constituyeron en la teoría de la organización, los estudios de cultura organizacional y el campo de la comunicación en organizaciones formales. Atiende, en primera instancia, la necesidad de recuperar las raíces de la organización del conocimiento, de modo que las nociones de disciplina y sucedáneas hagan sentido en un marco histórico social y no exclusivamente epistémico. En seguida, se concentra en la caracterización general de la supradisciplina como respuesta a la creciente complejidad del capitalismo avanzado, sus aporías y momentos críticos. Finaliza con la presentación de algunas premisas mínimas para el estudio conjunto de la comunicación, la cultura y el sistema organizacional, reconociendo que es en ese dominio, el de la organización formal, donde se generan los imperativos tecnodiscursivos que operan a manera de cierre sobre los intereses epistémicos de aquellas dos áreas.

This research presents the realistic overview of the state of Higher education in one of the largest Indian State, Rajasthan. There are many imperative problems which go back to the princely States, however reorganization of State has uplifted the status of education but the situation still is dismal. The introduction of E-governance by the Government is appreciable for the reason that it shows commitment to bring out fundamental changes in the scenario related to education. The research results are pointing out to definitive policy shifts; to be specific it will be pertinent to draw inferences in entirety.The scientific research epitomizes the basics that need to be addressed in terms of deconstructing some myths about the policies; constructing some new perceptions about educational institutions and reconstructing new paths to attain the finality of this fundamental objective. The societal transformation will remain unattended unless this sector is strengthened. This study is just a beginning to understand the ground realities and on the basis to visualize the prospective thrust. This particular research has also pointed out some fallacies regarding the tall claims put forth by the government on account of being serious about implementing E-governance but the data collected tells a different story altogether.DOI: http://dx.doi.org/10.3126/ijssm.v2i1.11684 Int. J. Soc. Sci. Manage. Vol-2, issue-1: 31-35

El mundo de las normas técnicas elaboradas por los organismos de normalización está rodeado de una multiplicidad de problemas jurídicos, entre los cuales se encuentra el de la publicidad oficial de aquellas especificaciones técnicas de origen privado que despliegan efectos de naturaleza jurídica-pública. Este artículo se centra, precisamente, en el estudio de esta cuestión, comenzando, en primer término, con el análisis del concepto y de la significación de las normas técnicas, para pasar, en segundo lugar, al examen de los mecanismos que existen para transformar en obligatorias las normas técnicas de origen privado. El núcleo del trabajo se encuentra, no obstante, y en tercer lugar, en la disección del estado actual de la publicidad oficial de las normas técnicas armonizadas europeas y de las normas técnicas transformadas en imperativas por las disposiciones legales y reglamentarias, tanto españolas como europeas, tras la reciente sentencia del Tribunal de Justicia de la Unión Europea en el asunto “Stichting Rookpreventie Jeugd”. Este estudio finaliza formulando una propuesta con el objetivo último de solucionar el problema jurídico, que existe a día de hoy, derivado de la ausencia de publicación oficial de las normas técnicas de origen privado que despliegan efectos jurídico-públicos.

El 16 de noviembre de 1984, Jean Pictet, vicepresidente de honor del CICR, pronunció, en el acto de homenaje que le rindió la Universidad de Ginebra por su septuagésimo aniversario, una conferencia titulada: «La formatión del derecho internacional humanitario».Este texto*, que es una notable síntesis del desarrollo del derecho humanitario en el siglo XX, finaliza con algunas conclusiones generales que van mucho más allá del propósito initial del texto. Son una reflexión sobre las difíciles relaciones entre los imperativos humanitarios y las necesidades militares y políticas, entre el idealismo y el pragmatismo, así como sobre la responsabilidad que todos tenemos de dar a conocer y aplicar un derecho que se deriva no solo de la humanidad, sino también del sentido común.Diez años después, estas palabras siguen siendo de palpitante actualidad y adquieren una significación particular, especialmente en relación con las credent es violaciones del derecho; son también un llamamiento, sobre todo a la juventud, para que viva y difunda el derecho humanitario.Hemos pensado que se imponía volver a publicar dichas conclusiones en este número del 125º aniversario de la Revista, que evoca el pasado y, al mismo tiempo, cuestiona el futuro. Las ideas de Jean Pictet, que tanto ha aportado al derecho humanitario, son siempre dignan de reflexión.

Abstract Background The patient profile in a Dublin rehabilitation hospital has changed in recent years to include older adult rehabilitation alongside orthopaedic rehabilitation. A snapshot audit completed by the occupational therapy department on one day in 2018 demonstrated that 64% of patients had an assessment score indicative of a cognitive impairment. A subjective gap in knowledge regarding dementia care and a misunderstanding of the ability of people with dementia to engage in rehabilitation was identified. It was imperative that dementia awareness training was provided with a particular focus on modifying rehabilitation techniques to cater for these patients. Methods A dementia care committee was established with an Educational Development subgroup responsible for addressing dementia and delirium awareness training. Educational material was received from the field of occupational therapy, nursing, medicine, pharmacy and dietetics. The programme was accredited by the Nursing and Midwifery Board of Ireland. A focus group was completed pre/post formulation of the presentation with various departmental representatives. Feedback provided was used to inform and finalise the training content. Results Sessions are completed once monthly. One hundred and seven participants to date have attended. Ten-point Likert scales are completed pre and post training. Data from the Likert scales were analysed revealing on average a 24.4 % increase in knowledge of dementia, a 27.6% increase in awareness of the impact of dementia on function and a 23.3% increase in confidence in caring for a patient with dementia. Highest contingent of staff members trained were household and catering staff (19%) nursing staff (18%), and health care attendants (13%). Conclusion This essential training is ongoing with thirty per cent of staff trained to date. The objective is for all staff to complete this training for enhanced care and rehabilitation for all patients with dementia. It will also aim to review treatment for all patients with cognitive impairment so unique rehabilitation programmes can be tailored.

ObjectivesThe National Health Service has been moving towards integrated care for the best part of two decades to address the growing financial and service pressures created by an ageing population. Integrated healthcare systems (IHSs) join up health and social care services and have been established to manage the care of individuals with complex chronic conditions but with varied success. It is therefore imperative to conduct a Systematic Literature Review (SLR) to identify and understand the factors that influence their successful functioning, and ascertain the factor with the greatest influence, in order to ensure positive outcomes when establishing future IHSs.MethodsArticles published between 1 January 1997 and 8 March 2020 were analysed from the following six databases: Healthcare Management Information Consortium, Nuffield Trust, Cumulative Index to Nursing and Allied Health Literature, PubMed, National Institute for Health and Care Excellence Evidence and Health Systems Evidence. Those deemed relevant after title and abstract screening were procured for subsequent review of the full-text article.ResultsThirty-three finalised articles were analysed in this SLR to provide a comprehensive overview of the factors that influence the functioning of IHSs. Factors were stratified into six key categories: organisational culture, workforce management, interorganisational collaboration, leadership ability of staff, economic factors and political factors. Leadership was deemed to be the most influential factor due to its intrinsic and instrumental role in influencing the other key factors.ConclusionsThe findings of this SLR may serve as a guide to developing tailor-made recommendations and policies that address the identified key factors and thereby improve the functioning of present and future IHSs. Furthermore, due to both its overarching influence and the inadequacy of literature in this field, there is a strong case for further research exploring leadership development specifically for IHSs.

Abstract: As far as the right to housing is a programmatic rule in the European Union (EU) and national regulations of tenancy are related to housing, social housing policies can be carried out through tenancy law. In fact, tenancy rules have traditionally been mandatory in the European context to protect tenants as the weak party of the contract, with little room for the freedom of will, due to the risk of abuses from landlords. However, an excess of protection for tenants could infringe property as a fundamental right of landlords, even though it is based on social purposes. At this point, the key issue is to find the balance between imperative rules protecting tenants and the freedom of will. This study explores the role of tenancy in connection to the right to housing in some European countries by comparing the rules related to the duration of the contract and the rent as basic elements for tenants. Résumé: Étant donné que le droit de l’habitation est un principe programmatique dans le cadre de l’Union Européenne et que les droits nationaux du bail sont liés à l’habitation, les politiques sociales en matière d’habitation pourraient être développées par l’intermédiaire de la réglementation du bail. En fait, le droit du bail a été traditionnellement régulé par normes impératives en Europe afin de protéger le preneur, qui est considéré être la partie faible au contrat, tout en laissant très peu d’espace pour l’autonomie des volontés, afin de prévenir le risque d’abus dans le chef des bailleurs. Mais la protection excessive des preneurs pourrait porter atteinte au droit de propriété comme droit fondamental des bailleurs, même si cette protection a une finalité sociale. Sur ce point-là, la question essentielle est trouver l’équilibre entre les règles impératives destinées à protéger les preneurs et l’autonomie des volontés. Cette étude explore le rôle du bail par rapport au droit de l’habitation dans quelques pays Européens en faisant une analyse comparative des règles relatives à la durée du contrat et du loyer comme éléments essentiels pour les preneurs.

Los 17 Objetivos de Desarrollo Sostenible (ODS) descritos dentro de la Agenda 2030, son objetivos ambiciosos que apuntan a hacer del mundo un lugar más sostenible, a través de una perspectiva ambiental, económica y social. Están relacionados principalmente con el uso, el consumo y la producción sostenible, así como una propuesta donde se incorporen los procesos con mayores emisiones y requerimientos dentro de una economía circular. De esta manera se establece un diseño innovador, dando paso a la introducción de nuevos modelos de negocios, los cambios en los procesos de producción y la educación de los consumidores; estos son solo algunos de los enfoques que conducen a la sostenibilidad. El ámbito de la construcción no es ajeno a la problemática planteada, es así que la construcción de vivienda, se establece como uno de los procesos con mayores emisiones al medio ambiente. La generación de desechos durante la fabricación de los principales materiales construcción representa devastaciones y cambios importantes dentro del entorno, una vez que finaliza la vida útil de la vivienda, los residuos que se generan corresponden a desechos con una baja capacidad de degradación y reincorporación al medio ambiente, lo que hace evidente la urgencia de establecer mecanismos donde se implementen estrategias con el fin de impulsar los principios derivados de la economía circular dentro de la industria de la construcción. El enfoque del presente estudio se basa, en aplicación de sistemas constructivos que incorporen una reducción en el consumo de recursos. Posiblemente a través de un mejor diseño de los productos y materiales constructivos. Lo que generará un uso más eficiente de los recursos, reutilice de los recursos y reduzca ciertos componentes con una limitada vida útil. Los sistemas prefabricados a analizar son: sistemas prefabricados con PVC, madera y concreto, comparándolos con tabique de barro rojo recocido y block. Los puntos a considerar son vida útil, generación de desechos durante su construcción, viabilidad en reciclaje y reúso. Para garantizar una adecuada habitabilidad es imperativa además del análisis estructural de los sistemas.

BackgroundThe proportion of childhood cancer survivors (CCS) in low/middle-income countries (LMICs) is rising. CCS often develop several physical and psycho-social long-term adverse effects, with unique healthcare needs. Primary healthcare providers (primary care physicians (PCPs)), especially in LMICs, are often not equipped to handle survivorship care. This study aimed to assess knowledge, and attitude among trainee healthcare providers concerning major issues of paediatric survivorship care.MethodsA multi-centre, cross-sectional, questionnaire-based study was conducted among nursing and medical undergraduate students, and postgraduate medical residents across three tertiary-care teaching hospitals in India—All India Institute of Medical Sciences, New Delhi; Jawaharlal Institute of Postgraduate Medical Education and Research, Puducherry; and Maulana Azad Medical College, New Delhi. A questionnaire with total of 24 questions (14 knowledge-based and 10 attitude-based) was finalised after validation by expert review and piloting. The major domains covered in the questionnaire included knowledge and attitude regarding long-term adverse effects and psychosocial, employment-related issues faced by the survivors. It was administered to the study participants electronically. The knowledge-based questions had true/false responses (scored as 0 or 1 if incorrect or correct, respectively). Attitude-based questions were scored as 5-point Likert scale.ResultsTotal 898 responses were collected (median age: 21 years, 64% (576/898) female). Among the respondents, 44% were undergraduate medical students, 42% were nursing students and 14% were postgraduate medical residents. The mean (SD) of knowledge score was 8.72 (2.04) (out of 14). On multivariable analysis, only discipline of training predicted knowledge scores regarding survivorship care. Postgraduate medical residents (9.08) as well as undergraduate medical students (8.85), had significantly higher mean knowledge scores than nursing students (8.47) (p=0.004).Two questions were answered incorrectly by the majority; children and siblings of CCS need additional genetic screening (79% incorrectly answered true), and CCS face intimacy issues in relation to normal sexual functioning (59% incorrectly answered false).Nearly half (48%) of respondents believed that their knowledge of cancer survivorship issues was inadequate. Majority of respondents (84%) suggested that oncologists should handle long-term survivorship care rather than PCPs.ConclusionTrainee healthcare providers in India reported inadequate knowledge regarding survivorship care. Improving awareness by incorporating survivorship in teaching curriculum is imperative to equip future PCPs to provide survivorship care across the country.

Este artículo explora la correspondencia entre las preferencias dominantes en la ciudadanía y varios atributos característicos del Derecho español. En relación con países europeos de similar tamaño, los españoles mostramos en promedio unas marcadas preferencias estatistas y contrarias a la competencia, las cuales favorecerían una concepción finalista de las leyes; así como una tendencia a imponer excesivas reglas imperativas sobre la libertad contractual. En la medida en que las disfunciones estructurales de nuestro marco normativo corresponden a las preferencias ciudadanas, estas podrían explicar la proliferación de las reformas y su reiterado fracaso.

O Autor quer dar algumas normas práticas para orientar o estudioso da Língua Italiana a colocar o acento sobredeterminadas formas verbais. Aborda o aspecto do acento sobre os verbos de modo infinitivo da segunda conjugação; sobre formas do indicativo e subjuntivo presente; orienta para saber quando a terceira pessoa plural do indicativo e subjuntivo presente é pré-proparoxítona.Trata ainda do emprego dos acentos nas formas verbais sufixadas por pronomes átonos. Finaliza falando de algumas formas particulares de acentuação do imperativo presente.

Este trabajo ha sido finalista del Premio «Estudios Financieros» 2019 en la modalidad de Tributación. Este trabajo pretender realizar una lectura desde un punto de vista fiscal de la Resolución del ICAC de 5 de marzo de 2019, relativa a la contabilidad de sociedades, que es de aplicación imperativa a ejercicios iniciados con posterioridad al 1 de enero de 2020. Nuestro objetivo fundamental será exponer los posibles efectos fiscales en los que derivarán las novedades que recoge esta resolución, tratando en concreto las consecuencias fiscales resultantes de los cambios que introduce la misma respecto a los criterios de presentación de los instrumentos financieros, el concepto de beneficio distribuible y su impacto en la aplicación del resultado, la remuneración a los socios mediante scrip dividends, la imputación de beneficios y pérdidas en contratos de cuentas en participación y los efectos en el inversor de la reducción de capital con devolución de aportaciones.

Nel luglio del 1808 l’Institut national decise di premiare la miglior dissertazione sul governo di Teoderico e sulle distinzioni che la sua azione introdusse tra Goti e Latini. Apparve subito chiaro che il quesito rifletteva il desiderio di porre a confronto la stagione del re dei Goti con quella di Napoleone, imperatore die francesi e re d’Italia. Il saggio analizza le sei dissertazioni inviate e sottolinea l’intreccio tra le finalità erudite e le suggestioni politiche. Tra queste, oltre a sottolineare come i lavori del tedesco Sartorius e del francese Naudet, entrambi premiati, seguissero prospettive opposte, l’autore si sofferma sulla dissertazione, rimasta manoscritta, di Francesco Maria Colle, un consigliere di stato del regno d’Italia, che a differenza di tutti gli altri suggerisce una analogia tra la figura di Teoderico e il viceré Eugenio di Beauharnais.

«Toda la problemática que gira alrededor de las contratas, y su incidencia en los derechos de los trabajadores afectados, ya es suficientemente (...) enrevesada para añadir mayor confusión con la cita (...) de una sentencia del Pleno de esta Sala». Con esta contundencia finaliza el voto particular a la STS de 10 de mayo de 2016 (RCUD 2957/2014), cuya decisión de fondo, sin embargo, asume. Puede parecer exagerado tan alarmante juicio de un nutrido sector del Alto Tribunal, que mueve a la inquietud por el grave riesgo de quiebra de la seguridad jurídica que tanta imprevisibilidad de las decisiones en esta trascendental materia suscitaría en la experiencia forense, hasta el punto de desautorizar la remisión al «precedente» de la sala invocado por la mayoría. En cualquier caso, resulta ciertamente llamativa tan conflictiva visión de una materia jurídico-laboral que cuenta con gran tradición legislativa –art. 44 ET–, con creciente atención convencional –a fin de reforzar las garantías de estabilidad en el empleo– y con una copiosa jurisprudencia forjada desde hace décadas, corregida y afinada a lo largo del tiempo por los imperativos de un intenso activismo en la materia del Tribunal de Justicia de la Unión Europea, en defensa del imperio de la norma clave en este ámbito, que es la Directiva 2001/23/CE.

Abstract Background Osteoarthritis is a common, painful and disabling long-term condition. Delivery of high-quality guideline-informed osteoarthritis care that successfully promotes and maintains supported self-management is imperative. However, osteoarthritis care remains inconsistent, including under use of core non-pharmacological approaches of education, exercise and weight loss. Community pharmacies are an accessible healthcare provider. United Kingdom government initiatives are promoting their involvement in a range of long-term conditions, including musculoskeletal conditions. It is not known what an enhanced community pharmacy role for osteoarthritis care should include, what support is needed to deliver such a role, and whether it would be feasible and acceptable to community pharmacy teams. In this (PharmOA) study, we aim to address these gaps, and co-design and test an evidence-based extended community pharmacy model of service delivery for managing osteoarthritis. Methods Informed by the Theoretical Domains Framework, Normalisation Process Theory, and the Medical Research Council (MRC) framework for developing complex interventions, we will undertake a multi-methods study involving five phases: 1. Systematic review to summarise currently available evidence on community pharmacy roles in supporting adults with osteoarthritis and other chronic (non-cancer) pain. 2. Cross-sectional surveys and one-to-one qualitative interviews with patients, healthcare professionals and pharmacy staff to explore experiences of current, and potential extended community pharmacy roles, in delivering osteoarthritis care. 3. Stakeholder co-design to: a) agree on the extended role of community pharmacies in osteoarthritis care; b) develop a model of osteoarthritis care within which the extended roles could be delivered (PharmOA model of service delivery); and c) refine existing tools to support community pharmacies to deliver extended osteoarthritis care roles (PharmOA tools). 4. Feasibility study to explore the acceptability and feasibility of the PharmOA model of service delivery and PharmOA tools to community pharmacy teams. 5. Final stakeholder workshop to: a) finalise the PharmOA model of service delivery and PharmOA tools, and b) if applicable, prioritise recommendations for its wider future implementation. Discussion This novel study paves the way to improving access to and availability of high-quality guideline-informed, consistent care for people with osteoarthritis from within community pharmacies.

Investigative journalist Bill Moyers interviews Jon Stewart of The Daily Show: MOYERS: I do not know whether you are practicing an old form of parody and satire…or a new form of journalism. STEWART: Well then that either speaks to the sad state of comedy or the sad state of news. I can’t figure out which one. I think, honestly, we’re practicing a new form of desperation…. July 2003 (Bill Moyers Interview of Jon Stewart, on Public Broadcasting Service) Transmission, while always fraught and ever-changing, is particularly so at a moment when coincidentally the exponential increase in access to new media communication is paired with the propagandized and state-dominated moment of war, in this case the U.S. preemptive invasion of Iraq in 2003. U.S. fighter planes drop paper propaganda along with bombs. Leaked into mainstream media by virtue of new media technologies, the violations of Abu-Ghraib represent the challenge of conducting war in a digital era. Transmissions are highly controlled and yet the proliferation of access poses a new challenge – explicitly named by Rumsfeld in December 2005 on the Jim Lehrer news hour: DONALD RUMSFELD: No, I think what is happening – and this is the first war that has ever been conducted in the 21st century when you had talk radio, the Internet, e-mails, bloggers, 24-hour news, digital cameras, video cameras, instant access to everything, and we haven’t accommodated to that yet. … And what’s happening is the transmission belt that receives it spreads all these things. … Rumsfeld’s comments about the convergence of new media with a time of war highlights what those of us studying cultural communication see as a crucial site of study: the access and use of new media to transmit dissenting political commentary is arguably a sign of new counter-public spaces that coincide with increased mainstream media control and erosion of civil liberties surrounding free speech. In this particular instance, the strategic use of media by U.S. political administration to sell a morally questionable war to the public through deceptions and propaganda raises new questions about the transmission and phenomenon of truth claims in a digital age. In this essay I examine three sites through which satire is used to express political commentary in the convergent moment of repression combines with increased affordances. The examples I offer have been chosen because they illustrate what I recognize as a cultural shift, an emotional sea change even for staunch postmodernists: replacing Jameson’s characterization of the “waning of affect,” there has emerged renewed desire for truthfulness and accountability. What’s unique is that this insistence on the possibility of truthfulness is held in simultaneous contradiction with cynical distrust. The result is a paradoxical affective sentiment shared by many: the simultaneous belief that all truths are rhetorically constructed along with the shared certainty that we have been lied to, that this is wrong, and that there is a truthfulness that should be delivered. This demand is directed at the corrupted synergy created between media and politicians. The arguments used to counter the dominant content (and form) of transmission are made using new digital media. The sea-change in transmission is its multidirectionality, its frequency, and its own rapidly-changing modes of transmission. In short, communication and the political role of media has become exponentially complex in the simultaneous demand for truthfulness alongside the simultaneous awareness that all truth is constructed. Visual satire offers an ideal form to transmit the post-9/11 contradictions because irony turns on the unsaid; it uses the dominant forms of logic to express what is otherwise silenced as dissenting didacticism; it expresses horrors in forms that are palatable; it creates a sense of shared meaning and community by using the unsaid to create a recognition of the dominant culture as misrepresentation. While irony has been used for centuries as a political tool, what is unique about the digitally produced and disseminated cultures created through visual ironies after 9/11 is that these expressions explicitly reference again and again a desire for accountability. Much could be said about the history of political satire, and if space permitted I would develop here my discussion of affect and parody, best excavated beginning with a history of political satire moving up to current “fair use legislation” which legally protects those who perform parody, one subset of satire. A more general comment on the relation of humor to politics helps set a context for the relationship of satire to contemporary political transmissions I address. Humor … helps one only to bear somewhat better the unalterable; sometimes it reminds both the mighty and the weak that they are not to be taken seriously. …One’s understanding of political jokes obviously depends on one’s understanding of politics. At one level, politics is always a struggle for power. Along with persuasion and lies, advice and flattery, tokens of esteem and bribery, banishment and violence, obedience and treachery, the joke belongs to the rich treasury of the instruments of politics. We often hear that the political joke is an offensive weapon with which an aggressive, politically engaged person makes the arrangements or precautions of an opponent seem ridiculous. But even when political jokes serve defensive purposes, they are nonetheless weapons (Speier and Jackall 1998, 1352). The productions I am studying I define as digital dissent: the use of new media to engage in tactical media, culture jamming, or online civic participation that interrupts mainstream media narratives. The sites I am studying include multimedia memes, blogs, and mirrored streaming of cable-channel Comedy Central’s highly popular news satire. These three examples illustrate a key tension embedded in the activity of transmission: in their form (satirical) and content (U.S. mainstream media and U.S. politicians and mistakes) they critique prevailing (dominant) transmissions of mainstream media, and perform this transmission using mainstream media as the transmitter. The use of the existing forms to critique those same forms helpfully defines “tactical media,” so that, ironically, the transmission of mainstream news is satirized through content and form while in turn being transmitted via corporate-owned news show. The following illustrations of digital dissent employ irony and satire to transmit the contradictory emotional sensibilities: on the one hand, the awareness that all truth claims are constructed and on the other, a longing for truthful accountability from politicians and media. The Daily Show with Jon Stewart The Daily Show (TDS) with Jon Stewart is a highly-popular news satire. “The most trusted name in fake news” is transmitted four nights a week in the U.S. and Canada on cable television and often on another local network channel. TDS format uses “real” news clips from mainstream media – generally about Washington D.C. politics – and offers satirical and ironic commentary about the media representations as well as about the actions and speech of the politicians represented. Aired in Europe through CNN as well througha half-hour once weekly version, TDS is also streamed online both through Comedy Central’s official site as well as on mirrored independent streaming. The Daily Show has been airing for 6 years, has 1.7 million television viewers, a wide audience who view TDS online, and a larger segment of age 18-31 viewers than any other U.S. nightly news show (Friend 28). Jon Stewart has become an icon of a cross-partisan North American critique of George W. Bush in particular (though Stewart claims himself as non-partisan). Particularly since his appearance on CNN news debate show Crossfire and now poised to host the Academy Awards (two days until Oscar broadcast as I write), Jon Stewart emblematizes a faith in democracy, and demand for media accountability to standards of civic discourse seen as central to democracy. (In a March 2, 2006 blog-letter to Jon Stewart, Ariana Huffington warns him against losing his current political legitimacy by blowing it at the Oscars: “Interjecting too much political commentary – no matter how trenchant or hilarious – is like interrupting the eulogy at a funeral to make a political point … . At the same time, there is no denying the fact, Jon, that you are going to have the rapt attention of some 40 million Americans. Or that political satire – done right – can alter people’s perceptions (there’s a reason emperors have always banned court jesters in times of crisis). Or that a heaping dose of your perception-altering mockery would do the American body politic a load of good.”) “Stop hurting America” Stewart pleads with two mainstream news show hosts on the now-infamous Crossfire appearance, (an 11 minute clip easily found online or through ifilm.com). Stewart’s public shaming of mainstream media as partisan hackery theatre, “helping corporations and leaving all of us alone to mow our lawns,” became the top-cited media event in the blogosphere in 2004. The satirical form of The Daily Show illustrates how the unsaid functions as truth. Within the range of roles classically defined within the history of humor and satire, Jon Stewart represents the court jester (Jones). First, the unsaid often occurs literally through Stewart’s responses to material: the camera often shows simply his facial expression and speechlessness, which “says it all.” The unsaid also occurs visually through the ironic adoption of the familiar visuals of a news show: for example, situating the anchor person (Stewart) behind his obscenely large news desk. Part of this unsaid is an implicit questioning of the performed legitimacy of a news report. For viewers, The Daily Show displaces a dominant and enforced hegemonic cultural pastime: individuals in isolated living rooms tuned in to (and alienated by) the 11 o’clock dose of media spin about politicians’ and military versions of reality have been replaced by a new virtual solidarity of 1.2 million living rooms who share a recognition of deception. Ironically, as Bill Moyers expresses to Jon Stewart, “but when I report the news on this broadcast, people say I’m making it up. When you make it up, they say you’re telling the truth” (“Transcript”). The unsaid also functions by using actual existing logics, discourses, and even various familiar reiterated truth claims (the location of WMD; claims made by Hans Blix, etc.) and shifting the locutionary context of these slightly in order to create irony – putting “real” words into displaced contexts in a way that reveals the constructed-ness of the “real” and thereby creates an unsaid, shared commentary about the experience of feeling deceived by the media and by the Pentagon. Through its use of both “real” news footage combined with ironic “false” commentary, The Daily Show allows viewers to occupy the simultaneous space of cynicism and desire for truth: pleasure and satisfaction followed by a moment of panic or horror. Bush in 30 Seconds The Bushin30seconds campaign was begun by the organization MoveOn, who solicited entries from the public and received over 500 which were streamed as QuickTime videos on their Website. The guidelines were to use the form of a campaign ad, and the popularly-selected winner would be aired on major network television during the 2004 Superbowl. The majority of the Bushin30Seconds ads include content that directly addresses Bush’s deception and make pleas for truth, many explicitly addressing the demand for truth, the immorality of lies, and the problems that political deception pose for democracy (along with a research team, I am currently working on a three year project analyzing all of these in terms of their content, rhetorical form, and discursive strategies and will be surveying and interviewing the producers of the Bushin30Seconds. Our other two sites of study include political blogs about the U.S. invasion of Iraq, and online networks sparked by The Daily Show). The demand for truthfulness is well exemplified in the ad called “Polygraph” (see also #27 A Big Puzzle). This ad invokes a simulated polygraph – the polygraph being a classic instrument of rational positivism and surveillance – which measures for the viewer the “truth” quotient of Bush’s own “real” words. Of course, the polygraph is not actually connected to Bush’s body, and hence offers a visual symbolic “stand in” for the viewer’s own internal or collectively shared sensibility or truth meter. Illustrating my central argument about the expressed desire for truthfulness, the ad concludes with the phrase “Americans are dying for the truth.” Having examined 150 ads, it is remarkable how many of these – albeit via different cultural forms ranging from hip hop to animation to drama to pseudo-advertisement for a toy action figure – make a plea for accountability, not only on behalf of one’s own desire but often out of altruistic concern for others. The Yes Men I offer one final example to illustrate transmissions that disrupt dominant discourses. The Yes Men began their work when they created a website which “mirrored” the World Trade Organization site. Assumed to represent the WTO, they were subsequently offered invitations to give keynotes at various international conferences and press meetings of CEOs and business people. (Their work is documented in an hour-long film titled The Yes Men available at many video outlets and through their web site.) The main yes man, Bichlbaum, arrives to these large international meetings with careful attire and speech, and offers a straight-faced keynote with subversive content. For example, at a textile conference he suggests that slavery had been a very profitable form of labor and might be reintroduced as alternative to unionized labor. At another conference, he announced that the WTO had decided to disband because it has realized it is only causing harm to international trade and economy. In December 2004, the Yes Men struck again when they were invited by the BBC as representatives of DOW chemical on the 20th anniversary of the Union Carbide Bhopal accident in India. Those who watched the BBC news and Channel 4 and the hundreds of thousands who viewed these clips afterwards are made aware of the anniversary of the worst chemical accident in history; are apprised of the ongoing effects on the people of Bhopal; and hear an unusual primetime soundbyte lambasting the utter absence of social responsibility of corporations such as Dow Chemical. The Yes Men illustrate what some might call tactical media, some might call media terrorism, and what some aspire to in their own activism. “They compare their work to that of a “funhouse mirror” – exaggerating hideous features. ‘We do that kind of exaggeration operation, but with ideas. We agree with people – turning up the volume on their ideas as we talk, until they can see their ideas distorted in our funhouse mirror. Or that’s what we try to do anyhow. As it turns out, the image always seems to look normal to them,’ Bichlbaum said” (Marchlewski). Another article describes their goal as follows: When newspapers and television stations out their acts, it’s not just the Yes Men who get attention, but also the issues they address … . The impersonations, which the two call identity corrections, are intended to show, in a colorful and humorous way, what they say are errors of corporate and government ways. (Marchlewski 2005) In conclusion, these three examples illustrate the new media terrain of access and distribution which enables transmissions that arguably construct significant new public spheres constructed around a desire for truthfulness and accountability. While some may prefer “civil society,” I find the concept of a public useful because its connotations imply less regimentation. If the public sphere is in part constructed through the reflexive circulation of discourse, the imaginary relation with strangers, and with affect as a social glue (my addition to Michael Warner’s six features of a public), we have described some of the ways in which counterpublics are produced (Warner 2002; Boler, forthcoming). If address (the circulation and reception of a cultural production under consideration) in part constructs a public, how does one imagine the interactivity between the listener/bystander/participant and the broadcast or image? To what extent do the kinds of transmission I have discussed here invite new kinds of multi-directional interactivity, and to what extent do they replicate problematic forms of broadcast? Which kind of subject is assumed or produced by different “mediated” publics? What is the relationship of discourse and propaganda to action and materiality? These are some of the eternally difficult questions raised when one analyzes ideology and culture in relation to social change. It is indeed very difficult to trace what action follows from any particular discursive construction of publics. One can think of the endings of the 150 Finalists in the Bush in30 Seconds campaign, each with an explicit or implicit imperative: “think!” or “act!” What subject is hailed and invoked, and what relationship might exist between the invocation or imagining of that listener and that listener’s actual reception and translation of any transmission? The construction of a public through address is a key feature of the politics of representation and visions of social change through cultural production. Each of the three sites of productions I have analyzed illustrate a renewed call for faith in media as an institution which owes a civic responsibility to democracy. The iterations of calls for truthful accounts from media and politicians stand in tension with the simultaneous recognition of the complex social construction of any and all truth claims. The uncertainty about whether such transmissions constitute “an old form of parody and satire…or a new form of journalism” reflects the ongoing paradox of what Jon Stewart describes as a “new form of desperation.” For those who live in Western democracies, I suggest that the study of political transmission is best understood within this moment of convergence and paradox when we are haunted by paradoxical desires for truths. References “American Daily.” 7 Nov. 2003 http://www.americandaily.com/article/5951>. Boler, Megan. “Mediated Publics and the Crises of Democracy.” Philosophical Studies in Education 37 (2006, forthcoming), eds. Justen Infinito and Cris Mayo. Colebrook, Claire. Irony. London: Routledge, 2004. Jameson, Frederic. “Postmodernism and Consumer Society.” The Anti-Aesthetic. Ed. H. Foster. Seattle: Bay Press, 1983. Jones, Jeffrey. Entertaining Politics: New Political Television and Civic Culture. New York: Rowman and Littlefield Publishers, 2004. Fletcher, M.D. Contemporary Political Satire. New York: University Press of America, 1987. Friend, Tad. “Is It Funny Yet? Jon Stewart and the Comedy of Crisis”. The New Yorker 77.47 (11 Feb. 2002): 28(7). Huffington, Ariana. “Memo to Jon Stewart: Tread Lightly and Carry a Big Schtick.” 2 March 2006. 4 March 2006 http://www.huffingtonpost.com/arianna-huffington/memo-to-jon-stewart-trea_b_16642.html>. Latour, Bruno. “Why Has Critique Run Out of Steam? From Matters of Fact to Matters of Concern.” Critical Inquiry 30.2 (2004). http://www.uchicago.edu/research/jnl-crit-inq/issues/v30/30n2.Latour.html>. Marchlewski, Kathie. “Hoaxsters Target Dow, Midland Daily News.” 20 May 2005 http://www.theyesmen.org/articles/dowagmmidlanddailynews.html>. Speier, Hans, & Robert Jackall. “Wit and Politics: An Essay on Laughter and Power.” The American Journal of Sociology 103.5 (1998): 1352. “The News Hour with Jim Lehrer.” 8 Dec. 2005. http://www.pbs.org/newshour/bb/fedagencies/july-dec05/rumsfeld_12-08.html>. “Transcript – Bill Moyers Inverviews Jon Stewart.” 7 Nov. 2003 . Warner, Michael. “Publics and Counterpublics.” Public Culture 14.1 (2002): 49-90. Citation reference for this article MLA Style Boler, Megan. "The Transmission of Political Critique after 9/11: “A New Form of Desperation”?." M/C Journal 9.1 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0603/11-boler.php>. APA Style Boler, M. (Mar. 2006) "The Transmission of Political Critique after 9/11: “A New Form of Desperation”?," M/C Journal, 9(1). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0603/11-boler.php>.

In November 2015 the progressive rock band, Coheed and Cambria, released their latest album and art-book, both titled The Color before the Sun (Color) (2015). This album deviates from their previous six releases by explicitly using a biographical frame for the art-book, the album, and their paratexts. This is a divergence from the band’s concept album approach, a transmedia storyworld, The Amory Wars (TAW) (2002-17), which fictionalised the life experiences of Claudio Sanchez, the band’s lead singer. When scholars discuss transmedia they often refer to fantastic and speculative fictions, such as the Star Wars (1977-2018), Star Trek (1966-2018), Doctor Who (1963-2018) and Marvel Universe (1961-2018) franchises, and TAW fits this framework. However, there is increasing consideration of the impact transmedia reading and writing practices have on storytelling that straddles representations of the “real” world. By making collaborative life-writing explicit, Color encourages readers to resist colonising ontologies. Framing the life-writing within the band’s earlier auto-fiction(s) (TAW), Color destabilises genre divides between fiction and life-writing, and positions readers to critique Sanchez’s narration of his subjectivity. This enables readers to abstract their critique to ontological narratives that have a material impact on their own subjectivities: law, medicine, religion, and economics.The terms subject and identity are often used interchangeably in the study of life-writing. By “subjectivity” I mean the individual’s understanding of their status and role in relation to their community, culture, socio-political context, and the operations of power dynamics therein. In contrast “identity” speaks to the sense of self. While TAW and Color share differing literary conceits—one is a space opera, the other is more explicitly biographical—they both explore Sanchez’s subjectivity and can be imagined as a web of connections between recordings (both audio and video), social media, books (comics, art books, novels and scripts), and performances that contribute to a form of transmedia life-writing. Life-writing is generic term that covers “protean forms of contemporary personal narrative” (Eakin 1). These narratives can be articulated across expressive practices, including interviews, profiles, diaries, social media, prose, poetry and so on. Zachary Leader notes in his introduction to On Life-Writing that “theoreticians and historians of life-writing commonly fuse or meld sub-genres [… and this] blurring of distinctions may help to account for life-writing’s growing acceptance as a field of academic study” (1-2). The growing relationship between life-writing and transmedia is therefore unsurprising.This article ties my research considering the construction of subjectivity through transmedia life-writing, with Emma Hill and Máiréad Nic Craith’s consideration of transmedia storytelling’s political potential (87-109). My intention is to determine how readers might construct their own subjectivity to resist oppressive interpellations. Hill and Nic Craith argue that the “lack of closure” in transmedia storyworlds creates “a greater breadth and depth of interpretation … than a single telling could achieve” (104). They conclude that “this expansive quality has allowed the campaigners to continue their activism in a number of different arenas” (104). I contest their assertion that transmedia lacks closure, and instead contend that closure, or the recognition of meaning, inheres with the reader (McCloud 33) rather than in a universalised meaning attributed to the text: transmedia storytelling therefore arouses political potential in reading communities. It is precisely this feature that enables the “expansive quality” valued in political activism. I therefore focus my discussion on the readers of transmedia life-writing, rather than on its writer(s). I argue that in reading a life or lives across multiple media the reader is exposed to the texts’ self-referential citations, its extra-diegetic reiterations, and its contradictions. The reader is invited to make meaning from these citations, reiterations and contradictions; they are positioned to confront the ways in which space and time shape life-writing and subjectivity. Transmedia life-writing can therefore empower readers to invoke critical reading practices.The reader’s agency offers the potential for resistance and revolution. This agency is invited in Color where readers are asked to straddle the fictional world of TAW and the “real” world. The Unravelling Palette of Dawn (2015) is the literary narrative that parallels this album. The book is written by Chondra Echert, Sanchez’s collaborator and wife, and is an amalgam of personal essay and photo-book. It opens by invoking the space opera that informs The Amory Wars: “Sector.12, Paris, Earth. A man and a woman sit in a café debating their fate” (n.p.). This situates the reader in the fictional world of TAW, but also brings the reader into the mundanity and familiarity of a discussion between two people. The reader is witness to a discussion between intimates that focusses on the question of “where to from here.” The idea of “fate” is either misunderstood or misapplied: fate is predetermined, and undebatable. The reader is therefore positioned to remember the band’s previous “concept,” and juxtapose it against a new “realistic” trajectory: fictional characters might have a fate that is determined by their writer, but does that fate extend to the writer themselves? To what extent is Sanchez and Echert’s auto/biography crafted by writers other than themselves?The opening passage provides a skin for the protagonists of the essay, enabling a fantastical space within which Echert and Sanchez might cloak themselves, as they have done throughout TAW. However, this conceit is peeled away on the second page:This might have been the story you find yourself holding. A Sci-fi tale, shrouded in fiction. The real life details modified. All names changed. Threads neatly tied up at the end and altered for the sake of ego and feelings.But the truth is rarely so well planned. The story isn’t filled with epic action scenes or glossed-over romance. Reality is gritty and mucky and thrown together in the last seconds. It’s painful. It is not beautiful … and so it is. The events that inspired this record are acutely personal. (n.p.)In this passage Echert makes reference to the method of storytelling employed throughout the texts that make up TAW. She lays bare the shroud of fiction that covers the lived realities of her and her husband’s lives. She goes on to note that their lives have been interpreted “to fit the bounds of the concept” (n.p.), that is TAW as a space opera, and that the current album was an opportunity to “pull back the curtain” (n.p.) on this conceit. This narrative is echoed by Sanchez in the documentary component of the project, The Physics of Color (2015). Like Echert, Sanchez locates the narrative’s genesis in Paris, but in the Paris of our own world, where he and Echert finalised the literary component of the band’s previous project, The Afterman (2012). Color, like the previous works, is written as a collaboration, not just between Sanchez and Echert, but also by the other members of the band who contributed to the composition of each track. This collaborative writing is an example of relationality that facilitates a critical space for readers and invites them to consider the ways in which their own subjectivity is constructed.Ivor Goodson and Scherto Gill provide a means of critically engaging with relational reading practices. They position narrative as a tool that can be used to engage in critical self, and social, reflection. Their theory of critical narrative as a form of pedagogy enables readers to shift away from reading Color as auto-fiction and towards reading it as an act of collaborative auto/biography. This transition reflects a shifting imperative from the personal, particularly questions of identity, to the political, to engaging with the web of human relations, in order to explore subjectivity. Given transmedia is generally employed by writers of fantasy and speculative literatures, it can be difficult for readers to negotiate their expectations: transmedia is not just a tool for franchises, but can also be a tool for political resistance.Henry Jenkins initiated the conversation about transmedia reading practices and reality television in his chapters about early seasons of Survivor and American Idol in his book Convergence Culture. He identifies the relationship between viewers and these shows as one that shifts from “real-time interaction toward asynchronous participation” (59): viewers continue their engagement with the shows even when they are not watching a broadcast. Hill and Nic Craith provide a departure from literary and media studies approaches to transmedia by utilising an anthropological approach to understanding storyworlds. They maintain that both media studies and anthropological methodologies “recognize that storytelling is a continually contested act between different communities (whether media communities or social communities), and that the final result is indicative of the collective rather than the individual” (88–89). They argue that this collectivity results from “negotiated meaning” between the text and members of the reading community. This is a recognition of the significance held by readers of life-writing regarding the “biographical contract” (Lejeune 22) resulting from the “rationally motivated inter subjective recognition of norms” (Habermas n.p.). Collectivity is analogous to relationality: the way in which the readers’ subjectivity is impacted upon by their engagement with the storyworld, helixed with the writer(s) of transmedia life-writing having their subjectivity impacted upon by their engagement with reader responses to their developing texts. However, the term “relationality” is used to slightly different effect in both transmedia and life-writing studies. Colin Harvey’s definition of transmedia storytelling as relational emphasises the relationships between different media “with the wider storyworld in question, and by extension the wider culture” (2). This can be juxtaposed with Paul John Eakin’s assertion that life-writing as a genre that requires interaction between the author and their audience: “autobiography of the self but the biography and autobiography of the other” (58). It seems to me that the differing articulations of “relationality” arising from both life-writing and transmedia scholarship rely on, but elide, the relationship between the reader and the storyworld. In both instances it is left to the reader to make meaning from the text, both in terms of understanding the subject(s) represented in relation to their own, and also as the nexus between the transmedia text, the storyworld, and the broader culture. The readers’ own experiences, their memories, are central to this relationality.The song “Colors” (2015), which Echert notes in her essay was the first song to be written for the album, chronicles the anxieties that arose after Sanchez and Echert discovered that their home (which they had been leasing out) had been significantly damaged by their tenants. In the documentary The Physics of Color, both Echert and Sanchez speak about this song as a means for Sanchez to reassert his identity as a musician after an extended period where he struggled with the song-writing process. The song is pared back, the staccato guitar in the introduction echoing a similar theme in the introduction to the song “The Afterman” (2012) which was released on the band’s previous album. This tonal similarity, the plucked electric guitar and the shared rhythm, provides a sense of thoroughness between the songs, inviting the listener to remember the ways in which the music on Color is in conversation with the previous albums. This conversation is significant: it relies on the reader’s experience of their own memory. In his book Fantastic Transmedia, Colin Harvey argues that memories are “the mechanisms by which the ‘storyworld’ was effectively sewn together, helping create a common diegetic space for me—and countless others—to explore” (viii). Both readers’ and creators’ experiences of personal and political time and space in relation to the storyworld challenge traditional understandings of readers’ agency in relation to the storyworld, and this challenge can be abstracted to frame the reader’s agency in relation to other economic, political, and social manifestations of power.In “The Audience” Sanchez sings:This is my audience, forever oneTogether burning starsCut from the same diseaseEver longing what and who we areIn the documentary, Sanchez states that this song is an acknowledgement that he, the band and their audience are “one and the same in [their] oddity, and it’s like … family.” Echert echoes this, referring to the intimate relationships built with fans over the years at conventions, shows and through social media: “they’ve superseded fandom and become a part of this extended family.” Readers come to this song with the memory of TAW: the memory of “burning Star IV,” a line that is included in the titles of two of Coheed’s albums (Good Apollo, I’m Burning Star IV Vols. 1 (2005) and 2 (2007), and to the Monstar disease that is referenced throughout Second Stage Turbine Blade, both the album (2002) and the comic books (2010). As a depiction of his destabilised identity however, the lyrics can also be read as a poetic commentary on Sanchez’s experiences with renegotiating his subjectivity: his status as an identity that gains its truth through consensus with others, an audience who is “ever longing what and who we are.” In the documentary Sanchez states “I could do the concept thing again with this album, you know, take it and manipulate it and make it this other sort of dimension … but this one … it means so much more to be … I really wanted this to be exposed, I really want this to be my story.” Sanchez imagines that his story, its truth, its sacredness, is contingent on its exposure on being shared with an audience. For Sanchez his subjectivity arises from on his relationality with his audience. This puts the reader at the centre of the storyworld. The assertion of subjectivity arises as a result of community.However, there is an uncertainty that floats in the lacunae between the texts contributing to the Color storyworld. As noted, in the documentary, both Echert and Sanchez speak lovingly of their relationships with Coheed audiences, but Sanchez goes on to acknowledge that “there’s a little bit of darkness in there too, that I don’t know if I want to bring up… I’ll keep that a mystery,” and some of the “The Audience” lyrics hint at a more sinister relationship between the audience and the band:Thieves of our timeWatch as they rape your integrityMarch as the beat suggests.One reader, Hecatonchair, discusses these lyrics in a Reddit post responding to “The Audience”. They write:The lyrics are pretty aggressive, and could easily be read as an attack against either the music industry or the fans. Considering the title and chorus, I think the latter is who it was intended to reach, but both interpretations are valid.This acknowledgement by the poster that there the lyrics are polyvalent speaks to the decisions that readers are positioned to make in responding to the storyworld.This phrase makes explicit the inconsistency between what Sanchez says about the band’s fans, and what he feels. It is left to the reader to account for this inconsistency between the song lyrics and the writers’ assertions. Hecatonchair and the five readers who respond to their post all write that they enjoy the song, regardless of what they read as its aggressive position on the band’s relationship with them as audience members. In identifying as both audience members and readers with different interpretations, the Reddit commentators recognise their identities in intersecting communities, and demonstrate their agency as subjects. Goodson and Gill invoke Charles Taylor’s assertion that one of the defining elements of “identity” is a “defining community,” that is “identity is lived in social and historical particulars, such as the literature, philosophy, religious teaching and great conversations taking place along one’s life’s journeys” (Goodson and Gill 27).Harvey identified readers as central to transmedia practices. In reading a life across multiple media readers assert agency within the storyworld: they choose which texts to engage with, and how and when to engage with them. They must remember, or more specifically re-member, the life or lives with which they are engaging. This re-membering is an evocative metaphor: it could be described as Frankensteinian, the bringing together of texts and media through a reading that is stretched across the narrative, like the creature’s yellow skin. It also invokes older stories of death (the author’s) and resurrection (of the author, by the reader): the murder and dismemberment of Osiris by his brother Set, and Isis, Osiris's wife, who rejoins the fragmented pieces of Osiris, and briefly brings him back.Coheed and Cambria regularly cite musical themes or motifs across their albums, while song lyrics are quoted in the text of comic books and the novel. The readers recognise and weave together these citations with the more explicitly autobiographical writing in Color. Readers are positioned to critique the function of a canonical truth underpinning the storyworld: whose life is being told? Sanchez invokes memory throughout the album by incorporating soundscapes, such as the sounds of a train-line on the song “Island.” Sanchez notes he and his wife would hear these sounds as they took the train from their home in Brooklyn to the island of Manhattan. Sanchez brings his day-to-day experiences to his readers as overlapping but not identical accounts of perspectives. They enable a plurality of truths and destabilise the Western focus on a singular or universal truth of lived experience.When life-writing is constructed transmedially the author must—of necessity—relinquish control over their story’s temporality. This includes both the story’s internal and external temporalities. By internal temporality I am referring to the manner in which time plays out within the story: given that the reader can enter into and engage with the story through a number of media, the responsibility for constructing the story’s timeline lies with the reader; they may therefore choose, or only be able, to engage with the story’s timeline in a haphazard, rather than a chronological, manner. For example, in Sanchez’ previous work, TAW, comic book components of the storyworld were often released years after the albums with which they were paired. Readers can only engage with the timelines as they are published, as they loop back through and between the storyworld’s temporality.The different media—CD, comic, novel, or art-book—often represent different perspectives or experiences within the same or at least within overlapping internal temporalities: significant incidences are narrated between the media. This results in an unstable external temporality, over which the author, again, has no control. The reader may listen to the music before reading the book, or the other way around, but reading the book and listening to the music simultaneously may not be feasible, and may detract from the experience of engaging with each aspect of the storyworld. This brings us back to the importance of memory to readers of transmedia narratives: they must remember in order to, as Harvey says, stitch together a common “diegetic space.” Although the author often relinquishes control to the external temporality of the text, placing the reader in control of the internal temporality of their life-writing destabilises the authority that is often attributed to an auto/biographer. It also makes explicit that transmedia life-writing is an ongoing project. This allows the author(s) to account for “a reflexive process where individuals take the opportunity to evaluate their actions in connection with their intentions and thus ‘write a further part’ of their histories” (Goodson and Gill 33).Goodson and Gill note that “life’s events are never linear and any intention for life to be coherent and progressive in accordance with a ‘plan’ will constantly be interrupted” (30). This is why transmedia offers writers and readers a more authentic means of engaging with life-writing. Its weblike structure enables readers to view subjectivity through a number of lenses: transmedia life-writing narrates a relational subjectivity that resists attempts at delineation. There is still a “continuity” that arises when Sanchez invokes the storyworld’s self-referential citations, reiterations, and contradictions in order to “[define] narratives within a temporal, social and cultural framework” (Goodson and Gill 29), however transmedia life-writing refuses to limit itself, or its readers, to the narratives of space and time that regulate mono-medial life-writing. Instead it positions readers to “unmask the world and then change it” (43).ReferencesArendt, Hannah. The Human Condition. Chicago: U of Chicago P, 1958.Coheed and Cambria. Second Stage Turbine Blade. New York: Equal Vision Records, 2002.———. In Keeping Secrets of Silent Earth: 3. New York: Equal Vision Records, 2003.———. Good Apollo I’m Burning Star IV, Vol. 1: From Fear through the Eyes of Madness. New York: Columbia, 2005.———. Good Apollo I’m Burning Star IV, Vol. 2: No World for Tomorrow. New York: Columbia, 2007.———. The Year of the Black Rainbow. New York: Columbia, 2010.———. The Afterman: Ascension. Los Angeles: Hundred Handed/Everything Evil, 2012.———. The Afterman: Descension. Los Angeles: Hundred Handed/Everything Evil, 2013.———. The Colour before the Sun. Brooklyn: the bag.on-line.adventures and Everything Evil Records, 2015.———. “The Physics of Color” Documentary DVD. Brooklyn: Everything Evil Records, 2015. Eakin, Paul John. How Our Lives Become Stories: Making Selves. Ithaca: Cornell UP, 1999. ———. The Ethics of Life Writing. Ithaca: Cornell UP, 2004.Echert, Chondra. The Unravelling Palette of Dawn. Brooklyn: the bag.on-line.adventures and Everything Evil Records, 2015.Goodson, Ivor, and Scherto Gill. Critical Narrative as Pedagogy. London: Bloomsbury Publishing, 2014.Habermas, Jürgen. The Theory of Communicative Action, Vol. 1: Reason and the Rationalisation of Society. Trans. Thomas McCarthy. Cambridge: Polity Press, 1984.Harvey, Colin. Fantastic Transmedia: Narrative, Play and Memory Across Science-Fiction and Fantasy Storyworlds. London: Palgrave Macmillan, 2015.Hecatonchair. “r/TheFence's Song of the Day Database Update Day 9: The Audience”. 11 Feb. 2018 <https://www.reddit.com/r/TheFence/comments/4eno9o/rthefences_song_of_the_day_database_update_day_9/>.Hill, Emma, and Máiréad Nic Craith. “Medium and Narrative Change: The Effects of Multiple Media on the ‘Glasgow Girls’ Story and Their Real-Life Campaign.” Narrative Culture 3.1 (2016). 9 Dec. 2017 <http://www.jstor.org/stable/10.13110/narrcult.3.1.0087>.Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: New York UP, 2006.Leader, Zachary, ed. On Life-Writing. Oxford: Oxford UP, 2015.Lejeune, Philippe, and Paul John Eakin, eds. On Autobiography. Trans. Katherine Leary. Minneapolis: U of Minnesota P, 1989.McCloud, Scott. Understanding Comics: The Invisible Art, New York: Harper Perennial, 1994.Sanchez, Claudio, and Gus Vasquez. The Amory Wars Sketchbook. Los Angeles: Evil Ink Comics, 2006.———, Gus Vasquez, et al. The Amory Wars: The Second Stage Turbine Blade Ultimate Edition. Los Angeles: BOOM! Studios, 2010.———, Peter David, Chris Burnham, et al. In Keeping Secrets of Silent Earth: 3 Ultimate Edition. Los Angeles: BOOM! Studios, 2010.———, and Christopher Shy. Good Apollo I’m Burning Star IV, Vol. 1: From Fear through the Eyes of Madness. Los Angeles: Evil Ink Comics, 2005.———, and Peter David. Year of the Black Rainbow. Nashville: Evil Ink Books, 2010.———, and Nathan Spoor, The Afterman. Los Angeles: Evil Ink Comics/Hundred Handed Inc., 2012.

Introduction In October 2008, the UK’s National Videogame Archive became a reality and after years of negotiation, preparation and planning, this partnership between Nottingham Trent University’s Centre for Contemporary Play research group and The National Media Museum, accepted its first public donations to the collection. These first donations came from Sony’s Computer Entertainment Europe’s London Studios who presented the original, pre-production PlayStation 2 EyeToy camera (complete with its hand-written #1 sticker) and Harmonix who crossed the Atlantic to deliver prototypes of the Rock Band drum kit and guitar controllers along with a slew of games. Since then, we have been inundated with donations, enquiries and volunteers offering their services and it is clear that we have exciting and challenging times ahead of us at the NVA as we seek to continue our collecting programme and preserve, conserve, display and interpret these vital parts of popular culture. This essay, however, is not so much a document of these possible futures for our research or the challenges we face in moving forward as it is a discussion of some of the issues that make game preservation a vital and timely undertaking. In briefly telling the story of the genesis of the NVA, I hope to draw attention to some of the peculiarities (in both senses) of the situation in which videogames currently exist. While considerable attention has been paid to the preservation and curation of new media arts (e.g. Cook et al.), comparatively little work has been undertaken in relation to games. Surprisingly, the games industry has been similarly neglectful of the histories of gameplay and gamemaking. Throughout our research, it has became abundantly clear that even those individuals and companies most intimately associated with the development of this form, do not hold their corporate and personal histories in the high esteem we expected (see also Lowood et al.). And so, despite the well-worn bluster of an industry that proclaims itself as culturally significant as Hollywood, it is surprisingly difficult to find a definitive copy of the boxart of the final release of a Triple-A title let alone any of the pre-production materials. Through our journeys in the past couple of years, we have encountered shoeboxes under CEOs’ desks and proud parents’ collections of tapes and press cuttings. These are the closest things to a formalised archive that we currently have for many of the biggest British game development and publishing companies. Not only is this problematic in and of itself as we run the risk of losing titles and documents forever as well as the stories locked up in the memories of key individuals who grow ever older, but also it is symptomatic of an industry that, despite its public proclamations, neither places a high value on its products as popular culture nor truly recognises their impact on that culture. While a few valorised, still-ongoing, franchises like the Super Mario and Legend of Zelda series are repackaged and (digitally) re-released so as to provide continuity with current releases, a huge number of games simply disappear from view once their short period of retail limelight passes. Indeed, my argument in this essay rests to some extent on the admittedly polemical, and maybe even antagonistic, assertion that the past business and marketing practices of the videogames industry are partly to blame for the comparatively underdeveloped state of game preservation and the seemingly low cultural value placed on old games within the mainstream marketplace. Small wonder, then, that archives and formalised collections are not widespread. However antagonistic this point may seem, this essay does not set out merely to criticise the games industry. Indeed, it is important to recognise that the success and viability of projects such as the NVA is derived partly from close collaboration with industry partners. As such, it is my hope that in addition to contributing to the conversation about the importance and need for formalised strategies of game preservation, this essay goes some way to demonstrating the necessity of universities, museums, developers, publishers, advertisers and retailers tackling these issues in partnership. The Best Game Is the Next Game As will be clear from these opening paragraphs, this essay is primarily concerned with ‘old’ games. Perhaps surprisingly, however, we shall see that ‘old’ games are frequently not that old at all as even the shiniest, and newest of interactive experiences soon slip from view under the pressure of a relentless industrial and institutional push towards the forthcoming release and the ‘next generation’. More surprising still is that ‘old’ games are often difficult to come by as they occupy, at best, a marginalised position in the contemporary marketplace, assuming they are even visible at all. This is an odd situation. Videogames are, as any introductory primer on game studies will surely reveal, big business (see Kerr, for instance, as well as trade bodies such as ELSPA and The ESA for up-to-date sales figures). Given the videogame industry seems dedicated to growing its business and broadening its audiences (see Radd on Sony’s ‘Game 3.0’ strategy, for instance), it seems strange, from a commercial perspective if no other, that publishers’ and developers’ back catalogues are not being mercilessly plundered to wring the last pennies of profit from their IPs. Despite being cherished by players and fans, some of whom are actively engaged in their own private collecting and curation regimes (sometimes to apparently obsessive excess as Jones, among others, has noted), videogames have, nonetheless, been undervalued as part of our national popular cultural heritage by institutions of memory such as museums and archives which, I would suggest, have largely ignored and sometimes misunderstood or misrepresented them. Most of all, however, I wish to draw attention to the harm caused by the videogames industry itself. Consumers’ attentions are focused on ‘products’, on audiovisual (but mainly visual) technicalities and high-definition video specs rather than on the experiences of play and performance, or on games as artworks or artefact. Most damagingly, however, by constructing and contributing to an advertising, marketing and popular critical discourse that trades almost exclusively in the language of instant obsolescence, videogames have been robbed of their historical value and old platforms and titles are reduced to redundant, legacy systems and easily-marginalised ‘retro’ curiosities. The vision of inevitable technological progress that the videogames industry trades in reminds us of Paul Duguid’s concept of ‘supersession’ (see also Giddings and Kennedy, on the ‘technological imaginary’). Duguid identifies supersession as one of the key tropes in discussions of new media. The reductive idea that each new form subsumes and replaces its predecessor means that videogames are, to some extent, bound up in the same set of tensions that undermine the longevity of all new media. Chun rightly notes that, in contrast with more open terms like multimedia, ‘new media’ has always been somewhat problematic. Unaccommodating, ‘it portrayed other media as old or dead; it converged rather than multiplied; it did not efface itself in favor of a happy if redundant plurality’ (1). The very newness of new media and of videogames as the apotheosis of the interactivity and multimodality they promise (Newman, "In Search"), their gleam and shine, is quickly tarnished as they are replaced by ever-newer, ever more exciting, capable and ‘revolutionary’ technologies whose promise and moment in the limelight is, in turn, equally fleeting. As Franzen has noted, obsolescence and the trail of abandoned, superseded systems is a natural, even planned-for, product of an infatuation with the newness of new media. For Kline et al., the obsession with obsolescence leads to the characterisation of the videogames industry as a ‘perpetual innovation economy’ whose institutions ‘devote a growing share of their resources to the continual alteration and upgrading of their products. However, it is my contention here that the supersessionary tendency exerts a more serious impact on videogames than some other media partly because the apparently natural logic of obsolescence and technological progress goes largely unchecked and partly because there remain few institutions dedicated to considering and acting upon game preservation. The simple fact, as Lowood et al. have noted, is that material damage is being done as a result of this manufactured sense of continual progress and immediate, irrefutable obsolescence. By focusing on the upcoming new release and the preview of what is yet to come; by exciting gamers about what is in development and demonstrating the manifest ways in which the sheen of the new inevitably tarnishes the old. That which is replaced is fit only for the bargain bin or the budget-priced collection download, and as such, it is my position that we are systematically undermining and perhaps even eradicating the possibility of a thorough and well-documented history for videogames. This is a situation that we at the National Videogame Archive, along with colleagues in the emerging field of game preservation (e.g. the International Game Developers Association Game Preservation Special Interest Group, and the Keeping Emulation Environments Portable project) are, naturally, keen to address. Chief amongst our concerns is better understanding how it has come to be that, in 2009, game studies scholars and colleagues from across the memory and heritage sectors are still only at the beginning of the process of considering game preservation. The IGDA Game Preservation SIG was founded only five years ago and its ‘White Paper’ (Lowood et al.) is just published. Surprisingly, despite the importance of videogames within popular culture and the emergence and consolidation of the industry as a potent creative force, there remains comparatively little academic commentary or investigation into the specific situation and life-cycles of games or the demands that they place upon archivists and scholars of digital histories and cultural heritage. As I hope to demonstrate in this essay, one of the key tasks of the project of game preservation is to draw attention to the consequences of the concentration, even fetishisation, of the next generation, the new and the forthcoming. The focus on what I have termed ‘the lure of the imminent’ (e.g. Newman, Playing), the fixation on not only the present but also the as-yet-unreleased next generation, has contributed to the normalisation of the discourses of technological advancement and the inevitability and finality of obsolescence. The conflation of gameplay pleasure and cultural import with technological – and indeed, usually visual – sophistication gives rise to a context of endless newness, within which there appears to be little space for the ‘outdated’, the ‘superseded’ or the ‘old’. In a commercial and cultural space in which so little value is placed upon anything but the next game, we risk losing touch with the continuities of development and the practices of play while simultaneously robbing players and scholars of the critical tools and resources necessary for contextualised appreciation and analysis of game form and aesthetics, for instance (see Monnens, "Why", for more on the value of preserving ‘old’ games for analysis and scholarship). Moreover, we risk losing specific games, platforms, artefacts and products as they disappear into the bargain bucket or crumble to dust as media decay, deterioration and ‘bit rot’ (Monnens, "Losing") set in. Space does not here permit a discussion of the scope and extent of the preservation work required (for instance, the NVA sets its sights on preserving, documenting, interpreting and exhibiting ‘videogame culture’ in its broadest sense and recognises the importance of videogames as more than just code and as enmeshed within complex networks of productive, consumptive and performative practices). Neither is it my intention to discuss here the specific challenges and numerous issues associated with archival and exhibition tools such as emulation which seek to rebirth code on up-to-date, manageable, well-supported hardware platforms but which are frequently insensitive to the specificities and nuances of the played experience (see Newman, "On Emulation", for some further notes on videogame emulation, archiving and exhibition and Takeshita’s comments in Nutt on the technologies and aesthetics of glitches, for instance). Each of these issues is vitally important and will, doubtless become a part of the forthcoming research agenda for game preservation scholars. My focus here, however, is rather more straightforward and foundational and though it is deliberately controversial, it is my hope that its casts some light over some ingrained assumptions about videogames and the magnitude and urgency of the game preservation project. Videogames Are Disappearing? At a time when retailers’ shelves struggle under the weight of newly-released titles and digital distribution systems such as Steam, the PlayStation Network, Xbox Live Marketplace, WiiWare, DSiWare et al bring new ways to purchase and consume playable content, it might seem strange to suggest that videogames are disappearing. In addition to what we have perhaps come to think of as the ‘usual suspects’ in the hardware and software publishing marketplace, over the past year or so Apple have, unexpectedly and perhaps even surprising themselves, carved out a new gaming platform with the iPhone/iPod Touch and have dramatically simplified the notoriously difficult process of distributing mobile content with the iTunes App Store. In the face of this apparent glut of games and the emergence and (re)discovery of new markets with the iPhone, Wii and Nintendo DS, videogames seem an ever more a vital and visible part of popular culture. Yet, for all their commercial success and seemingly penetration the simple fact is that they are disappearing. And at an alarming rate. Addressing the IGDA community of game developers and producers, Henry Lowood makes the point with admirable clarity (see also Ruggill and McAllister): If we fail to address the problems of game preservation, the games you are making will disappear, perhaps within a few decades. You will lose access to your own intellectual property, you will be unable to show new developers the games you designed or that inspired you, and you may even find it necessary to re-invent a bunch of wheels. (Lowood et al. 1) For me, this point hit home most persuasively a few years ago when, along with Iain Simons, I was invited by the British Film Institute to contribute a book to their ‘Screen Guides’ series. 100 Videogames (Newman and Simons) was an intriguing prospect that provided us with the challenge and opportunity to explore some of the key moments in videogaming’s forty year history. However, although the research and writing processes proved to be an immensely pleasurable and rewarding experience that we hope culminated in an accessible, informative volume offering insight into some well-known (and some less-well known) games, the project was ultimately tinged with a more than a little disappointment and frustration. Assuming our book had successfully piqued the interest of our readers into rediscovering games previously played or perhaps investigating games for the first time, what could they then do? Where could they go to find these games in order to experience their delights (or their flaws and problems) at first hand? Had our volume been concerned with television or film, as most of the Screen Guides are, then online and offline retailers, libraries, and even archives for less widely-available materials, would have been obvious ports of call. For the student of videogames, however, the choices are not so much limited as practically non-existant. It is only comparatively recently that videogame retailers have shifted away from an almost exclusive focus on new releases and the zeitgeist platforms towards a recognition of old games and systems through the creation of the ‘pre-owned’ marketplace. The ‘pre-owned’ transaction is one in which old titles may be traded in for cash or against the purchase of new releases of hardware or software. Surely, then, this represents the commercial viability of classic games and is a recognition on the part of retail that the new release is not the only game in town. Yet, if we consider more carefully the ‘pre-owned’ model, we find a few telling points. First, there is cold economic sense to the pre-owned business model. In their financial statements for FY08, ‘GAME revealed that the service isn’t just a key part of its offer to consumers, but its also represents an ‘attractive’ gross margin 39 per cent.’ (French). Second, and most important, the premise of the pre-owned business as it is communicated to consumers still offers nothing but primacy to the new release. That one would trade-in one’s old games in order to consume these putatively better new ones speaks eloquently in the language of obsolesce and what Dovey and Kennedy have called the ‘technological imaginary’. The wire mesh buckets of old, pre-owned games are not displayed or coded as treasure troves for the discerning or completist collector but rather are nothing more than bargain bins. These are not classic games. These are cheap games. Cheap because they are old. Cheap because they have had their day. This is a curious situation that affects videogames most unfairly. Of course, my caricature of the videogame retailer is still incomplete as a good deal of the instantly visible shopfloor space is dedicated neither to pre-owned nor new releases but rather to displays of empty boxes often sporting unfinalised, sometimes mocked-up, boxart flaunting titles available for pre-order. Titles you cannot even buy yet. In the videogames marketplace, even the present is not exciting enough. The best game is always the next game. Importantly, retail is not alone in manufacturing this sense of dissatisfaction with the past and even the present. The specialist videogames press plays at least as important a role in reinforcing and normalising the supersessionary discourse of instant obsolescence by fixing readers’ attentions and expectations on the just-visible horizon. Examining the pages of specialist gaming publications reveals them to be something akin to Futurist paeans dedicating anything from 70 to 90% of their non-advertising pages to previews, interviews with developers about still-in-development titles (see Newman, Playing, for more on the specialist gaming press’ love affair with the next generation and the NDA scoop). Though a small number of publications specifically address retro titles (e.g. Imagine Publishing’s Retro Gamer), most titles are essentially vehicles to promote current and future product lines with many magazines essentially operating as delivery devices for cover-mounted CDs/DVDs offering teaser videos or playable demos of forthcoming titles to further whet the appetite. Manufacturing a sense of excitement might seem wholly natural and perhaps even desirable in helping to maintain a keen interest in gaming culture but the effect of the imbalance of popular coverage has a potentially deleterious effect on the status of superseded titles. Xbox World 360’s magnificently-titled ‘Anticip–O–Meter’ ™ does more than simply build anticipation. Like regular features that run under headings such as ‘The Next Best Game in The World Ever is…’, it seeks to author not so much excitement about the imminent release but a dissatisfaction with the present with which unfavourable comparisons are inevitably drawn. The current or previous crop of (once new, let us not forget) titles are not simply superseded but rather are reinvented as yardsticks to judge the prowess of the even newer and unarguably ‘better’. As Ashton has noted, the continual promotion of the impressiveness of the next generation requires a delicate balancing act and a selective, institutionalised system of recall and forgetting that recovers the past as a suite of (often technical) benchmarks (twice as many polygons, higher resolution etc.) In the absence of formalised and systematic collecting, these obsoleted titles run the risk of being forgotten forever once they no longer serve the purpose of demonstrating the comparative advancement of the successors. The Future of Videogaming’s Past Even if we accept the myriad claims of game studies scholars that videogames are worthy of serious interrogation in and of themselves and as part of a multifaceted, transmedial supersystem, we might be tempted to think that the lack of formalised collections, archival resources and readily available ‘old/classic’ titles at retail is of no great significance. After all, as Jones has observed, the videogame player is almost primed to undertake this kind of activity as gaming can, at least partly, be understood as the act and art of collecting. Games such as Animal Crossing make this tendency most manifest by challenging their players to collect objects and artefacts – from natural history through to works of visual art – so as to fill the initially-empty in-game Museum’s cases. While almost all videogames from The Sims to Katamari Damacy can be considered to engage their players in collecting and collection management work to some extent, Animal Crossing is perhaps the most pertinent example of the indivisibility of the gamer/archivist. Moreover, the permeability of the boundary between the fan’s collection of toys, dolls, posters and the other treasured objects of merchandising and the manipulation of inventories, acquisitions and equipment lists that we see in the menus and gameplay imperatives of videogames ensures an extensiveness and scope of fan collecting and archival work. Similarly, the sociality of fan collecting and the value placed on private hoarding, public sharing and the processes of research ‘…bridges to new levels of the game’ (Jones 48). Perhaps we should be as unsurprised that their focus on collecting makes videogames similar to eBay as we are to the realisation that eBay with its competitiveness, its winning and losing states, and its inexorable countdown timer, is nothing if not a game? We should be mindful, however, of overstating the positive effects of fandom on the fate of old games. Alongside eBay’s veneration of the original object, p2p and bittorrent sites reduce the videogame to its barest. Quite apart from the (il)legality of emulation and videogame ripping and sharing (see Conley et al.), the existence of ‘ROMs’ and the technicalities of their distribution reveals much about the peculiar tension between the interest in old games and their putative cultural and economic value. (St)ripped down to the barest of code, ROMs deny the gamer the paratextuality of the instruction manual or boxart. In fact, divorced from its context and robbed of its materiality, ROMs perhaps serve to make the original game even more distant. More tellingly, ROMs are typically distributed by the thousand in zipped files. And so, in just a few minutes, entire console back-catalogues – every game released in every territory – are available for browsing and playing on a PC or Mac. The completism of the collections allows detailed scrutiny of differences in Japanese versus European releases, for instance, and can be seen as a vital investigative resource. However, that these ROMs are packaged into collections of many thousands speaks implicitly of these games’ perceived value. In a similar vein, the budget-priced retro re-release collection helps to diminish the value of each constituent game and serves to simultaneously manufacture and highlight the manifestly unfair comparison between these intriguingly retro curios and the legitimately full-priced games of now and next. Customer comments at Amazon.co.uk demonstrate the way in which historical and technological comparisons are now solidly embedded within the popular discourse (see also Newman 2009b). Leaving feedback on Sega’s PS3/Xbox 360 Sega MegaDrive Ultimate Collection customers berate the publisher for the apparently meagre selection of titles on offer. Interestingly, this charge seems based less around the quality, variety or range of the collection but rather centres on jarring technological schisms and a clear sense of these titles being of necessarily and inevitably diminished monetary value. Comments range from outraged consternation, ‘Wtf, only 40 games?’, ‘I wont be getting this as one disc could hold the entire arsenal of consoles and games from commodore to sega saturn(Maybe even Dreamcast’ through to more detailed analyses that draw attention to the number of bits and bytes but that notably neglect any consideration of gameplay, experientiality, cultural significance or, heaven forbid, fun. “Ultimate” Collection? 32Mb of games on a Blu-ray disc?…here are 40 Megadrive games at a total of 31 Megabytes of data. This was taking the Michael on a DVD release for the PS2 (or even on a UMD for the PSP), but for a format that can store 50 Gigabytes of data, it’s an insult. Sega’s entire back catalogue of Megadrive games only comes to around 800 Megabytes - they could fit that several times over on a DVD. The ultimate consequence of these different but complementary attitudes to games that fix attentions on the future and package up decontextualised ROMs by the thousand or even collections of 40 titles on a single disc (selling for less than half the price of one of the original cartridges) is a disregard – perhaps even a disrespect – for ‘old’ games. Indeed, it is this tendency, this dominant discourse of inevitable, natural and unimpeachable obsolescence and supersession, that provided one of the prime motivators for establishing the NVA. As Lowood et al. note in the title of the IGDA Game Preservation SIG’s White Paper, we need to act to preserve and conserve videogames ‘before it’s too late’.ReferencesAshton, D. ‘Digital Gaming Upgrade and Recovery: Enrolling Memories and Technologies as a Strategy for the Future.’ M/C Journal 11.6 (2008). 13 Jun 2009 ‹http://journal.media-culture.org.au/index.php/mcjournal/article/viewArticle/86›.Buffa, C. ‘How to Fix Videogame Journalism.’ GameDaily 20 July 2006. 13 Jun 2009 ‹http://www.gamedaily.com/articles/features/how-to-fix-videogame-journalism/69202/?biz=1›. ———. ‘Opinion: How to Become a Better Videogame Journalist.’ GameDaily 28 July 2006. 13 Jun 2009 ‹http://www.gamedaily.com/articles/features/opinion-how-to-become-a-better-videogame-journalist/69236/?biz=1. ———. ‘Opinion: The Videogame Review – Problems and Solutions.’ GameDaily 2 Aug. 2006. 13 Jun 2009 ‹http://www.gamedaily.com/articles/features/opinion-the-videogame-review-problems-and-solutions/69257/?biz=1›. ———. ‘Opinion: Why Videogame Journalism Sucks.’ GameDaily 14 July 2006. 13 Jun 2009 ‹http://www.gamedaily.com/articles/features/opinion-why-videogame-journalism-sucks/69180/?biz=1›. 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