Journal articles on the topic 'Makeshift economy'

It is increasingly recognised by those engaged in the debate concerning the standard of living of workers during industrialisation that all forms of household income need to be assessed, not just male waged work. A more holistic approach also considers women and children's earnings, poor relief, and the wide range of self-provisioning activities and resources available through the ‘economy of makeshifts’. Over one hundred household budgets of agricultural labourers and their families have been analysed from the Ampthill Union, Bedfordshire, just before and during the implementation of the new poor law in order to further explore and quantify all components to the household income of labouring families in this key transition decade. The article finds that poor relief to families was cut in the wake of the Poor Law Amendment Act. It also finds that the low incomes of families necessitated supplementation through making shift. When the makeshift economy is quantified, it becomes clear that such activities could significantly supplement incomes.

Electricity is the prime mover of every economy; hence there is a need to maintain its generation, distribution and consumption. This study was carried out to appraise the status of electrical wiring in the Isoko area of Delta State, Nigeria. A total of 300 residential buildings, 200 makeshift shops and 100 artisan workshops were sampled and their structures, state of connection, overvoltage protection (cut-out fuse) and earthing were accessed. 100 questionnaires were distributed to electricians involved in electrical wiring and installations in the study area. Results obtained from the questionnaires revealed that only 71% of the residential buildings, 23% of the makeshift shops, and 8% of the artisan workshops made use of electric cables that met the NIS recommendations. For electric cable connections, it was observed that there was a lapse in the connections; mostly in the artisan workshops, as some service cables were not properly tightened to the distribution lines. Only 75% of the residential buildings, 53% of the makeshift shops, and 5% of the artisan workshops had approved rating cut-out fuse. It was observed that in artisan workshops, welding machines were connected directly to the service lines. Furthermore, the results revealed that 42% of the residential buildings, 87% of the makeshift shops and 99% of the artisan’s workshops lacked proper earthing. These results revealed electrical risks in many makeshift shops and artisan workshops and the need for the relevant authorities to act fast to minimize power outrage and prevent electrical tragedies in the study area. Keywords: Artisan, electrical wiring, energy theft, makeshift shops, residential buildings

Beginning on 10 January 1939, Missouri sharecropping families—1,300 women, men, and children—lived in makeshift shelters and out in the open on US highways 60 and 61. Their strategy of in situ exhibition manipulated conventions of minstrelsy through which media recognized them, successfully shaming landowners as violators of the moral economy.

This paper is a preliminary attempt to examine demographic and economic aspects of widowhood in 19th-century Montreal and the ways working-class widows in particular could survive. Although men and women lost spouses in roughly equal proportions, widows remarried much less frequently than widowers. In the reconstruction of their family economy that followed the loss of the main wage earner, some of these women sought work themselves, mostly in the sewing trades or as domestics or washerwomen. A few had already been involved in small shops, and some used their dower, inheritance, or insurance policies to set up a shop, a saloon, or a boarding-house. Children were the most valuable asset of a widow, and they were more likely to work and to stay at home through their teens and twenties than in father-headed families. Additional strategies, including sharing housing with other families, raising animals, or trading on the streets, were drawn upon; they established an economy of makeshift arrangements that characterized the world of many working-class widows.

This article traces the extraordinary development of Gaza's tunnel phenomenon over the past decade in response to Israel's economic asphyxiation of the small coastal enclave. It focuses on the period since Hamas's 2007 takeover of the Strip, which saw the industry's transformation from a clandestine, makeshift operation into a major commercial enterprise, regulated, taxed, and bureaucratized. In addition to describing the particulars of the tunnel complex, the article explores its impact on Gaza's socioeconomic hierarchy, strategic orientation, and Islamist rule. The larger geopolitical context, especially with regard to Israel, the Sinai Peninsula, and the Nile Valley, is also discussed. The author argues that contrary to the intentions of its architects, the siege precipitated the reconfiguration of Gaza's economy and enabled its rulers to circumvent the worst effects of the blockade.

This paper discusses evidence for the argument that contemporary society is undergoing a profound evolution of consciousness and practice in which sustainable traditional practices are continued, adapted, revived, and evolved. The framework that encourages this is described as a cultural hollowing out of the economic and political systems which have resulted in large-scale disenchantment and disengagement. Several examples of ways of responding to the hollow world by adopting more sustainable practices are presented, including making do, makeshift communities, the slow food movement, and the sharing economy. The importance of traditional knowledge is also emphasised. Time will tell whether the new practices will build up momentum and significantly transform the current economic order, but there is compelling evidence that large and increasing numbers of people in the developed countries are ‘voting with their feet' and disengaging from the great world.

“Jewish protection rights” (Judenschutzrechte) — the legal category according to which Jews were tolerated in a few territories of the old German Empire during the early modern period — made it difficult for Jewish subjects to establish a secure existence. There were, above all, two reasons for this. First, the personalized nature of protection rights enabled the respective authorities to develop selective settlement policies oriented consistently towards the fiscal interests of the state. The direct results of this were increased tributary payments and the withdrawal of one's “protection document” (Schutzbrief) if taxes were not paid. Second, legislators for the territories developed a multiplicity of restrictive decrees concerning the gainful employment of Jews. Consequently, there were only a few economic niches n i which “privileged Jews” (Scbutzjuden) were permitted to earn a living. In the countryside — which is where such settlements were mainly situated in the early modern period — Jews were thus dependent upon peddling foods, textiles and cattle as well as upon lending money. The specific methods of business which developed from this were reflected in the anti-Jewish legend of the deceptive travelling salesman who, by awakening ever new consumer needs, brought his Christian customers into increasing debt. If one confronts this legend with reality, one finds two characteristic methods of business which arose out of necessity: the cultivation of a varied palette of goods offered, and the development of a differentiated system of payment by instalments. At the same time, these business methods accorded with the model of an “economy of makeshift”. In the sense of such “makeshift trade”, Jewish peddlers were prepared to travel for days in order to make even the most insignificant profits.

AbstractThis article outlines the changing character of vagrant removal from the City of London during the 1780s, suggesting that the City largely abandoned its duty to ‘punish’ the vagrant poor in favour of a policy of simply moving them on as quickly and cheaply as possible. After describing the impact of the destruction of Newgate and the resulting overcrowding in London's other prisons, it provides evidence for a dramatic increase in vagrant numbers. The article suggests that this change was both a direct result of the crises of imprisonment, transportation and punishment that followed the Gordon Riots and American war; and a result of growing demand for the transportation provided to vagrants, on the part of the migratory poor. Having established the existence of a changing pattern of vagrant removal, it suggests that the poor increasingly made use of the City of London, and the system of removal, to access transportation in pursuit of seasonal migration, and more significantly, medical care in the hospitals of the capital as part of a wider ‘economy of makeshift’.

Communities with large concentrations of migrants, who often live in makeshift and illegal housing, have been common on the margins of large cities in China since the 1980s. Why do so-called "urban villages" persist and even flourish despite repeated government crackdowns? By addressing this question, this article sheds light on a subtle dynamic of city making that has not been fully appreciated by scholarly literature and media reports that have focused on large-scale demolition and eviction in China's rapid urbanization. Drawing from my two years of field research in Hua village, a community on Beijing's fringes in line for land expropriation, I explore how multilateral negotiations between local residents (villagers), migrant tenants, the village committee, and municipal government led to a cyclical movement of temporary housing construction, demolition, and extension. The dynamics of recurring demolishment and reconstruction engendered spaces of suspension, which enabled migrants to enter the urban economy at a low cost. Such spaces, however, offered no formal protection or basis for developing lasting social relations, and always faced the prospect of being demolished, but nevertheless were constantly available and even expanding.

Migrant labours have contributed in boosting Malaysia’s economy especially in the development sectors where they occupy most of the 3Ds jobs in the labour market. Most of the migrant labours are either placed in cramped dormitories shared between four to five peoples in a room by their employer or stayed in their own makeshift- ghettos. Most often, their living condition is poor and unhygienic which post high risks of contagious disease to circulate within. As their number increase, so does numbers of their settlement within the locals’ neighbourhood and it has prompted the NIMBY (Not in My Backyard) phenomenon among the community. Although the authorities did come out with measures by segregating the migrant labours from the locals’ neighbourhood, the NIMBY phenomenon still remain, in which the locals are against the development of the said settlements near to their neighbourhood. In accessing the concerns that perceived by the locals, literature review is conducted to examine the locals’ acceptance towards the migrant labour’s presence near their neighbourhood is reviewed. Notably, the NIMBY phenomenon may occur due to various reasoning that associate with the locals’ main concerns. Furthermore, the NIMBY phenomenon occurrence towards the development of migrant labour settlement is also reviewed. This paper explores the issues of migrant labour settlement in Malaysia and addressed the problems from multiple perspectives. The findings will contribute insights to the authorities about the issues and discovering the appropriate measures in addressing the problems regarding the migrant labour settlement

Purpose: The purpose of this activity is to improve the economy of MSME actors and make them more knowledgeable about technology for their businesses. Methodology: The implementation of activities, the approach used in this activity is through surveys, interviews, and capacity building. Results: The results of community service can be in the form of solving problems faced by the community by utilizing the expertise of the relevant academic community. With three stages of implementation, namely the pre-activity stage, the activity implementation stage and the post-activity stage, it can be concluded that: (1) UMKM Mushroom Crispy Mak Rin already have a good record of income and expenses and are able to record all transactions smoothly; (2) UMKM Mushroom Crispy Mak Rin are finally able to operate shopee well, and they now have several orders through the Shopee application, and their offline orders are also increasing. Even an increase of about 50-90% compared to before participating in mentoring; (3) UMKM Mushroom Crispy Mak Rin initially only used ordinary clear plastic and makeshift labels for their products, but after providing assistance with students they now have attractive labels and packaging; and UMKM Mushroom Crispy Mak Rin got new insights about things they didn't know, and they got new insights on how to make their businesses grow. Limitations: Time is too short and coincides with many activities that occur in August. Contribution: In the student environment, the scope of SMEs and the scope of the university.

ObjectivesCOVID-19, which is caused by SARS-CoV-2, is a severe threat to human health and the economy globally. This study aimed to investigate the prevalence of taste and/or smell dysfunction and associated risk factors in mild and asymptomatic patients with Omicron infection in Shanghai, China.DesignThis was a questionnaire-based cross-sectional study.SettingCOVID-19 patients at the makeshift hospital in the Shanghai World Expo Exhibition and Convention Centre were recruited from March to April 2022.ParticipantsIn total, 686 COVID-19-infected patients who were defined as mild or asymptomatic cases according to the diagnostic criteria of New Coronavirus Pneumonia Prevention and Control Programme ninth edition (National Health Commission of China, 2022) were enrolled.MeasuresData to investigate taste and smell loss and to characterise other symptoms were collected by the modified Chemotherapy-induced Taste Alteration Scale and Sino-Nasal Outcome Test-22 questionnaires. The risk factors for the severity of taste/smell dysfunction were analysed by binary logistic regression models.Results379 males (379/686, 55.2%) and 307 females (307/686, 44.8%) completed the questionnaires to record recent changes in taste and smell ability. A total of 302 patients (44%) had chemosensory dysfunction with Omicron infection, of which 22.7% (156/686) suffered from both taste and smell dysfunction. In addition, cough (60.2%), expectoration (40.5%), fever (33.2%) and sore throat (32.5%) were common symptoms during Omicron infection. The quality-of-life-related indicators were negatively associated with participants’ self-reported taste and smell dysfunction.ConclusionsThe prevalence of taste or/and smell dysfunction in patients with Omicron infections was 44%. Individuals with chemosensory dysfunction had significantly higher rates of various upper respiratory influenza-like symptoms, xerostomia and bad breath. Moreover, smell dysfunction was a risk factor for the prevalence of taste dysfunction in patients with Omicron infection.Trial registration numberChiCTR 2200059097.

The development of a village is one of the important and a concern in every village. With the aim of a village that has competitiveness, the village apparatus and pamong need to pay attention to increasing the economic potential of the village as a local resource. This study aims to find out how the economic and development potential in the village of Huta Baru Sil, Dolok District, North Padang Lawas Regency. The analytical method used in this study is descriptive qualitative analysis through data collection using interview techniques. Descriptive method is a research method by collecting data that is in accordance with the actual data then compiled, processed and analyzed to be able to provide an overview of the problems that exist in the area. Descriptive analysis is a method that is carried out by explaining or describing the actual situation about how the village's potential is developed. In addition, this analysis was carried out by describing secondary data regarding the area of land and permaculture agricultural products that can be produced. The research instrument in qualitative research is the researcher himself who acts as a human instrument that performs the function of setting the research focus, collecting data, interpreting data, interpreting and making conclusions. The informant for this study was Mr. H. Ahmad Saihu Siregar, who was always the owner of permaculture agricultural land. The results of this research are the efforts of landowners and the community in developing village potential through permaculture farming with collaboration between landowners and the local community with the aim of increasing the economy of the Huta Baru Sil village community and providing an example to the people around the village so that they don't only farm oil palm and rubber but can also do permaculture farming with makeshift land to boost the economy. From the results of the permaculture harvest that was carried out starting from 2021-2022 it was very good and the results continued to increase and really helped the income of people who own the land. Based on the data analysis and discussion that has been put forward, it can be concluded that Huta Baru Village has enormous potential in the agricultural sector. The results of identifying the internal and external environmental conditions of the agricultural sector in Huta Baru sil village can be formulated several alternative strategies in developing the agricultural sector in Huta Baru sil, namely as follows: SO strategy (strengths-opportunities) to optimally utilize all existing potentials. The ST strategy (strengths -threats) optimizes farm management. WO strategy (weaknesses - opportunities) sustainable development for farmers. WT strategy (weaknesses-threats) to improve production facilities and trading system..

Goats are livestock that have a high tolerance for a variety of forages and have good adaptability to various environmental conditions. The development of goats has good prospects because besides meeting the domestic demand for meat, goats and sheep also have opportunities as export commodities. For this reason, goat breed is one of the determining factors of production and has strategic value in efforts to develop it in asustainable manner. Goat breeding is currently still based on smallholder farms which are characterized by small business scale, simple management, use of makeshift technology, non-concentrated locations and have not implemented agribusiness systems and efforts.Based on the problems above, the research problem can be formulated as follows: How is the social behavior of goat breeders indeveloping rural goat center cultivation areasin Apelgading District, Malang Regency? and What factors are behind the social behavior of goat breeders in developing rural goat farming centers in Ampelgading Sub-District, Malang Regency? The theory used in this study is the theory of social behavior and social interaction theory. And there are several concepts, namely the entrepreneur concept, the breeder concept, and the cultivation concept. This study used qualitative methods using descriptive qualitative in Ampelgading Sub-District, Malang Regency. The research was conducted by interviewing PE (Goat hybrid etawa) goat breeders to find out more about the social behavior of PE (Goat hybrid etawa) goat breeders which can increase the quantity of their livestock. Qualitative research is very important to be able to reveal what reasons are hidden behind various aspects of behavior.Strauss and Corbin (1990) state that qualitative methods can be used to uncover and understand whatever is hidden behind the phenomena that occur. This method can also provide complex details ofphenomena that are too complex to be explained using quantitative methods. The use of qualitative research is based on the consideration that this study is a study of the behavior of breeders related to the attitudes, actions and decisions taken indeveloping their livestock for their life needs as a support for the family economy. In this study, 17 findings and 7 minor propositions were produced so the major propositions could be formulated as follows. Protecting, and developing genetic heritage in raising livestock stimulates and reasons critically to continue to raise livestock traditionally and use animal husbandry technology so that the local government determines it as a place for the cultivation of goat livestock.

This short note examines the role of payments for sparrow catching in the parish of Mattishall in Norfolk in the 1820s. Payments for sparrow catching were made by the poor law authorities to those who otherwise had no income, or an insufficient income to subsist. They were part of the economy of makeshifts. A plausible interpretation of the evidence is that the overseers of the poor in Mattishall felt that it was important that paupers do some work in exchange for their dole money, if suitable work could be found.

AbstractWasherwomen in the Georgian period belonged, for the most part, to the small army of part-time and casual workers who found employment when and where they could. As handlers of one of the most coveted (as well as necessary) commodities of the period they were a focus of interest to a wide range of society and were growing in number as many householders came to rely less on resident domestic servants. Washerwomen were prime players in the ‘economy of makeshifts’, relying on a miscellany of supplementary activities to ‘get by’ and in which they showed both enterprise and agency.

ABSTRACTThis article is the first to use a combination of three different types of inventories from Dorset to examine the material lives of paupers inside and outside Beaminster workhouse. It argues that life was materially better for paupers on outdoor relief, compared with workhouse inmates and with paupers in the moments before they entered the workhouse. The article also examines how the poor used admission into the workhouse as part of their economy of makeshifts. The evidence demonstrates that the able-bodied poor used the workhouse as a short-term survival strategy, whereas more vulnerable inmates struggled to use this tactic. This article therefore furthers our understanding of the nature of poor relief and adds further weight to recent historical work that has emphasised pauper agency.

ABSTRACTWhile recent research in the English context on the so-called ‘economy of makeshifts’ has demonstrated the importance of alternative welfare options outside of the poor law, less work has been conducted on the situation in larger towns and cities. This article seeks to remedy this imbalance by examining the different welfare systems available in one city, Oxford, during the early nineteenth century. Poor law provision in the city, while extensive, was significantly less per capita than in rural parts of Oxfordshire. There was a high degree of charitable provision, not only from the continued survival of endowed charity, but also from the creation of newer subscription charities. The contribution made by charity to medical provision for the poor was especially significant, as was the role of emergency subscriptions in alleviating short-term economic and other crises. With such a varied range of assistance, traditional assumptions concerning the importance of the poor law in urban areas may require revision, with implications not only for the scale and measurement of poverty, but also for the ways in which both poor and wealthy alike managed and negotiated the supply of welfare.

The coronavirus disease (COVID-19) pandemic represents one of the toughest challenges to the global public health and modern healthcare systems. Since the first case of COVID-19 was confirmed in Indonesia on March 2, 2020, all stakeholders in healthcare along with the government of Indonesia through the Ministry of Health and its recently assembled COVID-19 National Task Force started to prepare for the surge of patients while simultaneously implementing various preventive public health measures. In terms of public policy, the government has been recommending people to maintain social and physical distancing, advocating the routine use of fabric face mask, encouraging workers (notably those who work in ‘non-essential’ sectors) to stay home and work from their home, if possible; applying large scale social restrictions in certain areas, and rapidly constructing designated facilities for both treatment and quarantine purposes. In terms of healthcare services, several professional medical organizations and nearly all healthcare facilities recommend and impose various measures, such as wearing certain levels of standard personal protective equipment (PPE) appropriately, converting standard hospital wards and operating rooms (OR) to makeshift isolation wards, high care units (HCU), and intensive care units, creating and publishing care guidelines to help clinicians manage their practices more safely during COVID-19 crisis, devising algorithms for the screening of COVID-19 infection, and triaging elective surgical and medical cases to avoid further burden on the already strained healthcare capacity due to COVID-19 pandemic. As an integral part of a healthcare system, the global community of vascular and endovascular surgeons has actively been contributing its share in the efforts of preventing and controlling as well as tackling the enormous burden of COVID-19. Ng et al. from Yong Loo Lin School of Medicine, National University of Singapore (NUS), recently reported the results of surveys consisted of seven questions regarding vascular and endovascular surgery practices to vascular surgeons all over the world. They found that the majority of vascular and endovascular surgery services, including outpatient services, inpatient care, and elective procedures were either suspended or scaled-down temporarily to allow for better allocation of medical resources.1 Mirza from Abbott Northwestern Hospital, Minneapolis, Minnesota, described the change of vascular surgery practice at his institution, which comprised of rescheduling all elective vascular and endovascular surgery cases except emergency procedures for life- or limb-threatening conditions, and utilizing telemedicine for a significant proportion of outpatient consultations and services.2 The Society for Vascular Surgery (SVS) and the American College of Surgeons (ACS) has also published the Vascular Surgery Triage Guidelines to aid clinicians in triaging vascular and endovascular surgical patients.3,4 When and how will the COVID-19 pandemic end? Will people continue to work from home and avoid commuting, even after the crisis phase of the pandemic has passed? Will surgeons and physicians need to delay elective services further until safe and effective vaccines for COVID-19 are available? All measures previously described were aimed to manage and better allocate healthcare capacity for COVID-19 cases, chiefly during the time of crisis so that the surge of new cases wouldn’t put too much burden on healthcare systems that were already stretched to their limits. Based on the officially daily-released information regarding the number of new COVID-19 cases, Indonesia arguably has not yet passed the peak of the epidemiological curve so that those practices will be, or at the very least, should be, remain in place for some time to come. However, such aggressive approaches in tackling the COVID-19 pandemic require enormous economic sacrifice, making some of those strategies unsustainable for the long term. While some researchers are optimistic that a vaccine will be ready by the end of 2020, it won’t be possible to postpone elective surgical services and keep people working from their homes for 4–6 months, considering the economic catastrophe it would bring.5 From the perspective of healthcare management, elective surgical services, along with outpatient consultations, are one of the primary sources of revenue for private hospitals, and, as a result, the suspension of elective procedures could potentially jeopardize their operations and drive them towards bankruptcy. The term “new normal” in Indonesia was popularized by Prof. drh. Wiku Adisasmito, MSc. Ph.D., the chair of the expert panel for COVID-19 National Task Force, essentially meaning “living as usual while practicing additional health and safety measures”, especially for the public. People are always advised to wear fabric face masks (medical- grade masks for the elderly) when they are out and unable to safely distance themselves, maintain good personal hygiene, keep a safe physical distance of at least 1 meter when interacting with others, and refrain from gathering in large numbers. For healthcare professionals, the term “new normal” essentially carries more or less equal implications, which includes adapting medical and surgical practices to safer models that protect healthcare workers, patients, families, and communities from COVID-19 infection during the time of crisis while concurrently economically sustainable for the long term. In the United States, the American Society of Anesthesiologists (ASA), along with ACS, has issued Joint Statement for the resumption of elective surgical services after COVID-19 pandemic; one of the prerequisite of which is a decline of newly diagnosed COVID-19 cases over a consecutive 14-day period in a region.6 ASA guidelines also warn hospitals to be prepared for the surge of elective surgical and procedural volume, since there will be a backlog after the temporary postponement of elective services; thus, before these services can be resumed, hospitals need to ensure that they have the necessary capacity to handle these increase in volume without reducing its standard of care.6 Some professional medical organizations in Indonesia, including the Indonesian Society for Vascular Surgery (INASVS), has also published a set of recommendations regarding vascular and endovascular surgical practice in the time of “new normal”. Among these recommendations is the use of PPE in clinical practices, whether during outpatient consultations and inpatient care or when performing procedures in the OR or cath lab. Additionally, the recent INASVS guidelines also emphasized for the development and implementation of screening algorithm for all vascular patients, especially those who need to undergo both elective and emergency vascular surgical and endovascular interventions for their conditions, to assure sustainability, this algorithm needs to encompass both accurate and affordable COVID-19 screening tests. Surgeons will also need to take into account the “attitude” of the virus, asymptomatic patients are large in numbers, and they are very infectious indeed. For doing elective operations, surgeons need to be accountable for the patient, not only pre or intraoperatively, but also when it is required to ensure that the patients are COVID-19 free when they are discharged from the hospital. The COVID-19 pandemic certainly is neither the first global pandemic in recorded history, nor will it be the last. In the past, humanity has faced several catastrophic and deadly pandemics, including the Black Death, which ravaged Europe and parts of Asia in the 14th century, and the Spanish flu pandemic in 1918 to 1920 coinciding with the First World War. However, the COVID-19 pandemic is the first-ever pandemic in modern history that has caused both millions of deaths globally and, at the same time, impacted the global economy so severely, prompting businesses, big and small, to cease their operations and threatening people’s livelihood, both directly and indirectly. It has put a heavy burden on the healthcare systems in an era when the right to health is considered as a fundamental human right, and universal health coverage is the norm in virtually all industrialized and even some developing countries. Thus, it is imperative for all stakeholders in healthcare, including vascular and endovascular surgeons, to actively contribute and ensure healthcare systems will not be overwhelmed in facing the COVID-19 crisis. The efforts and actions we make should not compromise the quality of care we to our patients, while on the other hand, be cost-effective and financially sustainable for the long term. In this “new normal”, every vascular and endovascular specialist has to be well-prepared, well-adapted, and well-equipped to provide the highest quality of care for the community. Jakarta, 9th June 2020 Dedy Pratama President of Indonesian Society for Vascular and Endovascular Surgery

Did prostitutes in medieval London have agency? This paper examines a new transcription of a medieval chancery bill concerning a woman accused of dressing in men's clothing and attempting to seduce a merchant at Hanse precinct in London. Rather than assessing this accusation as a potential expression of identity, this paper assesses Joan White's use of male clothing as a method of asserting limited agency over the lived experience of a medieval prostitute. By drawing on the work of Veronica Franco, another medieval courtesan, whose writings also suggest that she was accessing a certain type of agency, this article posits that while participants in the medieval sex trade did not necessarily have agency, they were able to access an "economy of makeshift" through which they could create limited facets of agency for themselves.

This article examines how cryptocurrencies are increasingly entangled with crises in Latin American political discourse and everyday economic life. In an effort of interdisciplinary integration, combining human geography with political economy and cultural anthropology, we critically assess the linkages between cryptocurrency, economic crisis and forms of political and economic precarity and exploitation. Drawing on experiences in Latin America, mostly on the cases of El Salvador and Venezuela, we explore how cryptocurrencies have rapidly emerged and expanded during periods of economic and political crises. We ground this discussion on social theories of money and critical analysis of blockchain and cryptocurrencies that question the apolitical assumptions of these apparent “trustless” infrastructures. The article contends that cryptocurrencies have the capacity to create potential niches for makeshift economic survival, speculation and quick profit, while at the same time reproducing historical conditions of vulnerability, inequality and ‘crypto-colonialism’. Though cryptocurrencies are surrounded by stories of freedom and decentralised community control, our ethnographic data on El Salvador and Venezuela suggest they often rely on free market fundamentalism and conditions of political corruption by authoritarian state-backed elites.

Heating, Ventilation, and Air-Conditioning (HVAC) system that is almost indispensable service system of modern buildings is recognized as the most important engineering control measure against pandemics. However, the effectiveness of HVAC systems has been questioned on their ability to control airborne transmission. After the outbreak of COVID-19, China has controlled the spread within a relatively short period. Considering the large population, high population density, busy transportation and the overall underdeveloped economy, China’s control measures may have some implications to other countries, especially those with limited resources. This paper intends to provide a systematic summary of Chinese ventilation guidelines issued to cope with COVID-19 transmission. The following three aspects are the main focus of these guidelines: (1) general operation and management schemes of various types of HVAC systems, (2) operation and management schemes of HVAC system in typical types of buildings, and (3) design schemes of HVAC system of makeshift hospitals. In addition, some important differences in HVAC guidelines between China and other countries/institutions are identified and compared, and the possible reasons are discussed. Further discussions are made on the following topics, including the required fresh air supply, the extended operation time, the use of auxiliary equipment, the limited capacity of existing systems, and the use of personalized systems.

Kumbh Mela is held once in twelve years in India and is being hailed as largest congregation on earth. Kumbh Mela held in Allahabad in 2013 provided unprecedented learning opportunity and seminal scholarship for multi-disciplines spanning public health, business, religious expression, temporary infrastructure, and the makeshift economy among other subjects. Harvard university book 'Kumbh Mela - Mapping the Ephemeral Megacity', claims that Maha Kumbh Mela held in 2013 was better organized than FIFA world cup held in Brazil in 2014. This bears a testimony to the 'Globalizing Indian management thought'. The sheer size is indicated by the fact that as an estimate 120 million people visited the Kumbh Mela at Allahabad in 2013. These events made multinational and Indian companies to mull over sacred calendars and promote their wares and services. There were innovate sales promotions such as 'Lifebuoy se haath dhoye kya' to 'Kya apne dant snan kiya' by Dabur among others. Kumbh Melas as an event represents harmonious existence of religious beliefs and business. This also provides unique opportunity for the Marketers to contribute to the society for social responsibility, while demanding business leadership and cultural sensitivity from managers.The research article makes modest attempt to elucidate various sales promotions of select brands in the context of Kumbh Mela as religious events, and develops conceptual frameworks for understanding of sales promotions at religious events in India for the marketers.

AbstractDespite the growing interest historians have expressed in old age and ageing in recent decades, our knowledge of the labour force participation of elderly people in pre-industrial times is still very limited. This is due to the fact that historians have, for far too long, discussed ‘old age’ mostly in terms of ‘providing for the elderly’ whilst more or less ignoring the wide range of activities the elderly were engaged in as well as the high rate of life-long labour force participation before the late 19th century.This study, on the one hand, discusses the social position of ‘retirees’ (former rural house owners), a social position often seen as an archetype for modern ‘retirement’. Numerous examples are presented from the regional case study of South Bohemia as well as from other parts of Central Europe showing that pre-modern retirees quite often continued to work in many different ways. In many cases inter vivos transfers of land and houses were not undertaken in order to allow for retirement from all activities but rather to facilitate a change in the individual’s own main focus of activity from one occupation to another. In a second part of the study the economy of makeshifts of the poor is analysed. Using rare sources from several South Bohemian parishes enables us to document the importance of the mixed economy of the poorest section of the rural elderly.

Antimicrobials are the drugs used to prevent and treat infections caused by bacteria, viruses, fungi and parasites in humans, animals and plants. Their use is increasing globally, across the species with desired beneficial effects when used judiciously. On the other hand, their overuse for prolonged period of time in unjustified doses, duration and indication is leading to drug resistance. Consequently, these agents are becoming ineffective rendering the management of infections increasingly difficult or impossible. In a way, drug resistance is largely a man-made problem and it can be tackled with good prescribing practices. Growing trends in the emergence of AMR is considered a major threat to global health and economy. World Health Organisation (WHO) considered it one of the top 10 global health threats. O'Neill J. et al published an excellent review on antimicrobial resistance in 2016. In this report, they studied the global trends, track the possible result of drug-resistant infections on health and economy globally if issue unaddressed and gave recommendations to tackle this menace.1 Even at the time of collection of data (2014-16), AMR was directly responsible for death of 700,000 deaths. It was estimated that if the trends went on un-addressed, world may see loss of 10 million lives by 2050, overtaking diabetes, heart disease and cancer as the leading cause of death in human and an approximate cost reaching 100 trillion USD. No country or region is immune but the low and middle-income countries are likely to suffer most. Although some experts and researcher had doubts about these estimates, 2,3 WHO and most of other authorities agree that the spread of AMR is a real, seriously growing global threat to be addressed by a well-coordinated global action plan. A recently published systematic analysis confirmed rising trends. Data from 204 countries and territories showed an estimated 1.27 million deaths caused directly by AMR worldwide, and 4.95 million deaths were associated with AMR, in 2019, higher than the mortality of HIV/AIDS and malaria which have been estimated to be 860,000 and 640,000 deaths, respectively, in same year.4 After the start of COVID -19, in 2020 hospitals have to cater a different patient population. Higher number of seriously ill, aged patients with comorbidities, who needed intensive care for a prolonged period. Without a clear guideline to deal with the newly emerged infectious outbreak, multiple therapeutic agents were used. These agents included many antibiotics, antiviral and sometimes antifungal agents used empirically. Many new and old drugs were also used on experimental basis. Additionally, all the seriously ill patients received corticosteroids as recommended in guidelines and many of the patients required invasive devices, equipment or catheters etc. for prolong time. All these are risk factors for development of drug resistance. To make the situation worse, due to increased burden of seriously ill patients, many temporary/makeshift ICUs have to be started with inadequately trained staff and compromised preventive measures. Lack of proper personal protective equipment for the health care workers and patients and their carers promoted the spread of infection in hospitals and communities. Evidence has proved that the single most important risk factor for the development of drug resistant bugs is prolonged use of broad-spectrum antibiotics. Although Viral aetiology of Covid -19 was established right from start of pandemic, but still majority of patients received antibiotics. Langford and colleagues5 performed a systematic meta-analysis of studies published in English language on this subject from 2019 to April 16, 2020. Out of 1308 studies, 24 qualified for inclusion into this meta-analysis. A total of 3338 patients in the 24 studies were evaluated for acute bacterial infection. Overall, only 6.9% (95%CI 4.3-9.5%) had bacterial infection (either at time of presentation or acquired as secondary infection during course of disease) while 71.9%, (95%CI 56.1 to 87.7%) received antibiotics. This unjustified excessive use of antibiotics in Covid patients with a threat to development of drug resistance has been widely reported in other publications as well.6,7,8 Unfortunately, social media also played a negative part. Many drugs including some antibiotics have been promoted as magical cures without any evidence. Many world leaders and even some health professionals also become a tool in spreading incorrect information which led to self-medication. Relevant authorities failed to counter this false campaign resulting in over the counter sale of such agents without prescription. Azithromycin is one of the many such agents which gained undue reputation as curative and preventive therapy. Demand was so high that many pharmaceuticals (more than 20 companies in Pakistan) started manufacturing and marketing azithromycin. Macrolides are already known to have high level microbial resistance,9,10 what havoc this excessive usage will play is within everyone’s imagination. Remember, this unjustified use is not limited to one antibiotic, all new and old, narrow and broad-spectrum antibiotics have the same fate. Exact scale of AMR in post Covid era is yet to be seen. It must be noted that this unjustified use is not limited to antibiotics only, same hold true for other antimicrobials like antifungal, antiviral and others. Authorities consider AMR, a ‘Second Pandemic’ which may speed up the emergence of drug resistance. If corrective measures are not taken, the estimated yearly mortality of 10 million1 due to AMR in 2050 may be seen much earlier. No stone should be left unturned to halt this deadly second pandemic. Authorities must focus on health care workers for judicious use of antimicrobial agents but must not ignore the health education of general public and media. It is important to convey all to learn and comply the principles of healthy life and be a safe patient. Avoiding the development of disease and prevention of its spread to others is responsibility of every member of society. Covid -19 pandemic has proved beyond doubt that only coordinated efforts by all can help tackle such disasters. Let’s not be complacent, and continue in same manner we did during pandemic to avoid AMR catastrophe.

In light of the COVID-19 pandemic, where income has become precarious and Internet use has soared, the influencer industry has to strategise over new ways to sustain viewer attention, maintain income flows, and innovate around formats and messaging, to avoid being excluded from continued commercial possibilities. In this article, we review the press coverage of the influencer markets in Australia, Japan, and Korea, and consider how the industry has been attempting to navigate their way through the pandemic through deviations and detours. We consider the narratives and groups of influencers who have been included and excluded in shaping the discourse about influencer strategies in the time of COVID-19. The distinction between inclusion and exclusion has been a crucial mechanism to maintain the social normativity, constructed with gender, sexuality, wealth, able-ness, education, age, and so on (Stäheli and Stichweh, par. 3; Hall and Du Gay 5; Bourdieu 162). The influencer industry is the epitome of where the inclusion-exclusion binary is noticeable. It has been criticised for serving as a locus where social norms, such as femininity and middle-class identities, are crystallised and endorsed in the form of visibility and attention (Duffy 234; Abidin 122). Many are concerned about the global expansion of the influencer industry, in which young generations are led to clickbait and sensational content and normative ways of living, in order to be “included” by their peer groups and communities and to avoid being “excluded” (Cavanagh). However, COVID-19 has changed our understanding of the “normal”: people staying home, eschewing social communications, and turning more to the online where they can feel “virtually” connected (Lu et al. 15). The influencer industry also has been affected by COVID-19, since the images of normativity cannot be curated and presented as they used to be. In this situation, it is questionable how the influencer industry that pivots on the inclusion-exclusion binary is adjusting to the “new normal” brought by COVID-19, and how the binary is challenged or maintained, especially by exploring the continuities and discontinuities in industry. Methodology This cross-cultural study draws from a corpus of articles from Australia, Japan, and Korea published between January and May 2020, to investigate how local news outlets portrayed the contingencies undergone by the influencer industry, and what narratives or groups of influencers were excluded in the process. An extended discussion of our methodology has been published in an earlier article (Abidin et al. 5-7). Using the top ranked search engine of each country (Google for Australia and Japan, Naver for Korea), we compiled search results of news articles from the first ten pages (ten results per page) of each search, prioritising reputable news sites over infotainment sites, and by using targeted keyword searches: for Australia: ‘influencer’ and ‘Australia’ and ‘COVID-19’, ‘coronavirus’, ‘pandemic’; for Japan: ‘インフルエンサー’ (influensā) and ‘コロナ’ (korona), ‘新型コロ ナ’ (shin-gata korona), ‘コロナ禍’ (korona-ka); for Korea: ‘인플루언서’ (Influencer) and ‘코로나’ (corona) and ‘팬데믹’ (pandemic). 111 articles were collected (42 for Australia, 31 for Japan, 38 for Korea). In this article, we focus on a subset of 60 articles and adopt a grounded theory approach (Glaser and Strauss 5) to manually conduct open, axial, and close coding of their headline and body text. Each headline was translated by the authors and coded for a primary and secondary ‘open code’ across seven categories: Income loss, Backlash, COVID-19 campaign, Misinformation, Influencer strategy, Industry shifts, and Brand leverage. The body text was coded in a similar manner to indicate all the relevant open codes covered in the article. In this article, we focus on the last two open codes that illustrate how brands have been working with influencers to tide through COVID-19, and what the overall industry shifts were on the three Asia-Pacific country markets. Table 1 (see Appendix) indicates a full list of our coding schema. Inclusion of the Normal in Shifting Brand Preferences In this section, we consider two main shifts in brand preferences: an increased demand for influencers, and a reliance on influencers to boost viewer/consumer traffic. We found that by expanding digital marketing through Influencers, companies attempted to secure a so-called “new normal” during the pandemic. However, their marketing strategies tended to reiterate the existing inclusion-exclusion binary and exacerbated the lack of diversity and inequality in the industry. Increased Demand for Influencers Across the three country markets, brokers and clients in the influencer industry increased their demand for influencers’ services and expertise to sustain businesses via advertising in the “aftermath of COVID-19”, as they were deemed to be more cost-efficient “viral marketing on social media” (Yoo). By outsourcing content production to influencers who could still produce content independently from their homes (Cheik-Hussein) and who engage with audiences with their “interactive communication ability” (S. Kim and Cho), many companies attempted to continue their business and maintain their relationships with prospective consumers (Forlani). As the newly enforced social distancing measures have also interrupted face-to-face contact opportunities, the mass pivot towards influencers for digital marketing is perceived to further professionalise the industry via competition and quality control in all three countries (Wilkinson; S. Kim and Cho; Yadorigi). By integrating these online personae of influencers into their marketing, the business side of each country is moving towards the new normal in different manners. In Australia, businesses launched campaigns showcasing athlete influencers engaging in meaningful activities at home (e.g. yoga, cooking), and brands and companies reorganised their marketing strategies to highlight social responsibilities (Moore). On the other hand, for some companies in the Japanese market, the disruption from the pandemic was a rare opportunity to build connections and work with “famous” and “prominent” influencers (Yadorigi), otherwise unavailable and unwilling to work for smaller campaigns during regular periods of an intensely competitive market. In Korea, by emphasising their creative ability, influencers progressed from being “mere PR tools” to becoming “active economic subjects of production” who now can play a key role in product planning for clients, mediating companies and consumers (S. Kim and Cho). The underpinning premise here is that influencers are tech-savvy and therefore competent in creating media content, forging relationships with people, and communicating with them “virtually” through social media. Reliance on Influencers to Boost Viewer/Consumer Traffic Across several industry verticals, brands relied on influencers to boost viewership and consumer traffic on their digital estates and portals, on the premise that influencers work in line with the attention economy (Duffy 234). The fashion industry’s expansion of influencer marketing was noticeable in this manner. For instance, Korean department store chains (e.g. Lotte) invited influencers to “no-audience live fashion shows” to attract viewership and advertise fashion goods through the influencers’ social media (Y. Kim), and Australian swimwear brand Vitamin A partnered with influencers to launch online contests to invite engagement and purchases on their online stores (Moore). Like most industries where aspirational middle-class lifestyles are emphasised, the travel industry also extended partnerships with their current repertoire of influencers or international influencers in order to plan for the post-COVID-19 market recovery and post-border reopening tourism boom (Moore; Yamatogokoro; J. Lee). By extension, brands without any prior relationships with influencers, whcih did not have such histories to draw on, were likely to have struggled to produce new influencer content. Such brands could thus only rely on hiring influencers specifically to leverage their follower base. The increasing demand for influencers in industries like fashion, food, and travel is especially notable. In the attention economy where (media) visibility can be obtained and maintained (Duffy 121), media users practice “visibility labor” to curate their media personas and portray branding themselves as arbiters of good taste (Abidin 122). As such, influencers in genres where personal taste can be visibly presented—e.g. fashion, travel, F&B—seem to have emerged from the economic slump with a head start, especially given their dominance on the highly visual platform of Instagram. Our analysis shows that media coverage during COVID-19 repeated the discursive correlation between influencers and such hyper-visible or visually-oriented industries. However, this dominant discourse about hyper-visible influencers and the gendered genres of their work has ultimately reinforced norms of self-presentation in the industry—e.g. being feminine, young, beautiful, luxurious—while those who deviate from such norms seem to be marginalised and excluded in media coverage and economic opportunities during the pandemic cycle. Including Newness by Shifting Format Preferences We observed the inclusion of newness in the influencer scenes in all three countries. By shifting to new formats, the previously excluded and lesser seen aspects of our lives—such as home-based content—began to be integrated into the “new normal”. There were four main shifts in format preferences, wherein influencers pivoted to home-made content, where livestreaming is the new dominant format of content, and where followers preferred more casual influencer content. Influencers Have Pivoted to Home-Made Content In all three country markets, influencers have pivoted to generating content based on life at home and ideas of domesticity. These public displays of homely life corresponded with the sudden occurrence of being wired to the Internet all day—also known as “LAN cable life” (랜선라이프, lan-seon life) in the Korean media—which influencers were chiefly responsible for pioneering (B. Kim). While some genres like gaming and esports were less impacted upon by the pivot, given that the nature and production of the content has always been confined to a desktop at home (Cheik-Hussein), pivots occurred for the likes of outdoor brands (Moore), the culinary industry (Dean), and fitness and workout brands (Perelli and Whateley). In Korea, new trends such as “home cafes” (B. Kim) and DIY coffees—like the infamous “Dalgona-Coffee” that was first introduced by a Korean YouTuber 뚤기 (ddulgi)—went viral on social media across the globe (Makalintal). In Japan, the spike in influencers showcasing at-home activities (Hayama) also encouraged mainstream TV celebrities to open social media accounts explicitly to do the same (Kamada). In light of these trends, the largest Multi-Channel Network (MCN) in Japan, UUUM, partnered with one of the country’s largest entertainment industries, Yoshimoto Kogyo, to assist the latter’s comedian talents to establish a digital video presence—a trend that was also observed in Korea (Koo), further underscoring the ubiquity of influencer practices in the time of COVID-19. Along with those creators who were already producing content in a domestic environment before COVID-19, it was the influencers with the time and resources to quickly pivot to home-made content who profited the most from the spike in Internet traffic during the pandemic (Noshita). The benefits of this boost in traffic were far from equal. For instance, many others who had to turn to makeshift work for income, and those who did not have conducive living situations to produce content at home, were likely to be disadvantaged. Livestreaming Is the New Dominant Format Amidst the many new content formats to be popularised during COVID-19, livestreaming was unanimously the most prolific. In Korea, influencers were credited for the mainstreaming and demotising (Y. Kim) of livestreaming for “live commerce” through real-time advertorials and online purchases. Livestreaming influencers were solicited specifically to keep international markets continuously interested in Korean products and cultures (Oh), and livestreaming was underscored as a main economic driver for shaping a “post-COVID-19” society (Y. Kim). In Australia, livestreaming was noted among art (Dean) and fitness influencers (Dean), and in Japan it began to be adopted among major fashion brands like Prada and Chloe (Saito). While the Australian coverage included livestreaming on platforms such as Instagram, Facebook, YouTube, Twitch, and Douyin (Cheik-Hussein; Perelli and Whateley; Webb), the Japanese coverage highlighted the potential for Instagram Live to target young audiences, increase feelings of “trustworthiness”, and increase sales via word-of-mouth advertising (Saito). In light of reduced client campaigns, influencers in Australia had also used livestreaming to provide online consulting, teaching, and coaching (Perelli and Whateley), and to partner with brands to provide masterclasses and webinars (Sanders). In this era, influencers in genres and verticals that had already adopted streaming as a normative practice—e.g. gaming and lifestyle performances—were likely to have had an edge over others, while other genres were excluded from this economic silver lining. Followers Prefer More Casual Influencer Content In general, all country markets report followers preferring more casual influencer content. In Japan, this was offered via the potential of livestreaming to deliver more “raw” feelings (Saito), while in Australia this was conveyed through specific content genres like “mental or physical health battles” (Moore); specific aesthetic choices like appearing “messier”, less “curated”, and “more unfiltered” (Wilkinson); and the growing use of specific emergent platforms like TikTok (Dean, Forlani, Perelli, and Whateley). In Korea, influencers in the photography, travel, and book genres were celebrated for their new provision of pseudo-experiences during COVID-19-imposed social distancing (Kang). Influencers on Instagram also spearheaded new social media trends, like the “#wheredoyouwannago_challenge” where Instagram users photoshopped themselves into images of famous tourist spots around the world (Kang). Conclusion In our study of news articles on the impact of COVID-19 on the Australian, Japanese, and Korean influencer industries during the first wave of the pandemic, influencer marketing was primed to be the dominant and default mode of advertising and communication in the post-COVID-19 era (Tate). In general, specific industry verticals that relied more on visual portrayals of lifestyles and consumption—e.g. fashion, F&B, travel—to continue partaking in economic recovery efforts. However, given the gendered genre norms in the industry, this meant that influencers who were predominantly feminine, young, beautiful, and luxurious experienced more opportunity over others. Further, influencers who did not have the resources or skills to pivot to the “new normals” of creating content from home, engaging in livestreaming, and performing their personae more casually were excluded from these new economic opportunities. Across the countries, there were minor differences in the overall perception of influencers. There was an increasingly positive perception of influencers in Japan and Korea, due to new norms and pandemic-related opportunities in the media ecology: in Korea, influencers were considered to be the “vanguard of growing media commerce in the post-pandemonium era” (S. Kim and Cho), and in Japan, influencers were identified as critical vehicles during a more general consumer shift from traditional media to social media, as TV watching time is reduced and home-based e-commerce purchases are increasingly popular (Yadogiri). However, in Australia, in light of the sudden influx of influencer marketing strategies during COVID-19, the market seemed to be saturated more quickly: brands were beginning to question the efficiency of influencers, cautioned that their impact has not been completely proven for all industry verticals (Stephens), and have also begun to reduce commissions for influencer affiliate programmes as a cost-cutting measure (Perelli and Whateley). While news reports on these three markets indicate that there is some level of growth and expansion for various influencers and brands, such opportunities were not experienced equally, with some genres and demographics of influencers and businesses being excluded from pandemic-related pivots and silver linings. Further, in light of the increasing commercial opportunities, pressure for more regulations also emerged; for example, the Korean government announced new investigations into tax avoidance (Han). Not backed up by talent agencies or MCNs, independent influencers are likely to be more exposed to the disciplinary power of shifting regulatory practices, a condition which might have hindered their attempt at diversifying their income streams during the pandemic. Thus, while it is tempting to focus on the privileged and novel influencers who have managed to cling on to some measure of success during the pandemic, scholarly attention should also remember those who are being excluded and left behind, lest generations, cohorts, genres, or subcultures of the once-vibrant influencer industry fade into oblivion. References Abidin, Crystal. “#In$tagLam: Instagram as a repository of taste, a burgeoning marketplace, a war of eyeballs.” Mobile Media Making in an Age of Smartphones. Eds. Marsha Berry and Max Schleser. New York: Palgrave Pivot, 2014. 119-128. <https://doi.org/10.1057/9781137469816_11>. 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"코로나 이후 인플루언서 경제·사회 영향력 더 커져 [Influencers' Socioeconomic Impact Increased in Covid-19 Era].” MoneyToday 28 Apr. 2020. <https://news.mt.co.kr/mtview.php?no=2020042614390682882>. Kim, Young-Eun. "[포스트 코로나 유망 비즈니스 22]실시간 방송으로 경험하고 손가락으로 산다…판 커진 라이브 커머스 [[Growing Business 22 in Post-COVID-19] Experience with Livestreaming and Purchase with Fingers].” Hankyung Business 19 May 2020. <https://news.naver.com/main/read.nhn?mode=LSD&mid=sec&sid1=101&oid=050&aid=0000053676>. Koo, Jayoon. "코로나 언택트시대… 유튜브 업계는 '승승장구' [Fast-Growing Youtube Industry in the Covid-19 Untact Era].” Financial News 24 Apr. 2020. <https://www.fnnews.com/news/202004241650545778>. Lu, Li, et al. “Forum: COVID-19 Dispatches.” Cultural Studies ↔ Critical Methodologies, Sep. 2020. DOI: 10.1177/1532708620953190. Lee, Jihye. “[포스트 코로나] ‘일상을 여행처럼, 안전을 일상처럼’...해외 대신 국내 활성화 예고 [[Post-COVID-19] ‘Daily Life as Travelling, Safety as Daily Life’... 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Rowell, Andrew. “Coronavirus: Big Tobacco Sees an Opportunity in the Pandemic.” The Conversation 14 May 2020. <https://theconversation.com/coronavirus-big-tobacco-sees-an-opportunity-in-the-pandemic-138188>. Saito, Yurika. “コロナ禍で急増の「インスタライブ」。誰でも簡単に出来る視聴・配信方法 [The Boom of Instagram Live during the Pandemic: Anyone Can Easily Watch and Stream Content].” Forbes Japan 19 May 2020. <https://forbesjapan.com/articles/detail/34475>. Sanders, Krystal. “Perth Influencer Brooke Vulinovich Says Instagram Has Become ‘Lifeline’ for Small Businesses.” Perth Now 29 Apr. 2020. <https://www.perthnow.com.au/news/coronavirus/perth-influencer-brooke-vulinovich-says-instagram-has-become-lifeline-for-small-businesses-ng-b881533823z>. Stäheli, Urs, and Rudolf Stichweh. "Introduction: Inclusion/Exclusion–Systems Theoretical and Poststructuralist Perspectives." Inclusion/Exclusion and Socio-Cultural Identities, 2002. 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Yadorigi, Yuki. “【第7回】コロナ禍のなかで生まれた光明、新たなアプローチによるコミュニケーション [Episode 7: A Light Emerged during the Corona Crisis, a Communication Based on a New Approach].” C-Station 28 Apr. 2020. <https://c.kodansha.net/news/detail/36286/>. Yamatogokoro. “アフターコロナの観光・インバウンドを考えるVol.4世界の観光業の取り組みから学ぶ、自治体・DMOが今まさにすべきこと [After Corona Tourism and Inbound Tourism Vol. 4: What Municipalities and DMOs Should Do Right Now to Learn from Global Tourism Initiatives].” Yamatogokoro 19 May 2020. Yoo, Hwan-In. "코로나 여파, 연예인·인플루언서 마케팅 활발 [COVID-19, Star-Influencer Marketing Becomes Active].” SkyDaily 19 May 2020. <http://www.skyedaily.com/news/news_view.html?ID=104772>. Appendix Open codes Axial codes 1) Brand leverage Targeting investors Targeting influencers Targeting new digital media formats Targeting consumers/customers/viewers Types of brands/clients 2) Industry shifts Brand preferences Content production Content format Follower preferences Type of Influencers Table 1: Full list of codes from our analysis

Any understanding of social and cultural change is impossible without a knowledge of the way media work as environments. —Marshall McLuhan. What is visible and tangible in things represents our possible action upon them. —Henri Bergson. Introduction: Subjective Maps as ‘Contact Zones’ Maps feature heavily in a variety of media; they appear in textbooks, on television, in print, and on the screens of our handheld devices. The production of cartographic texts is a process that is imbued with power relations and bound up with the production and reproduction of social life (Pinder 405). Mapping involves choices as to what information is and is not included. In their organisation, categorisation, modeling, and representation maps show and they hide. Thus “the idea that a small number of maps or even a single (and singular) map might be sufficient can only apply in a spatialised area of study whose own self-affirmation depends on isolation from its context” (Lefebvre 85–86). These isolations determine the way we interpret the physical, biological, and social worlds. The map can be thought of as a schematic for political systems within a confined set of spatial relations, or as a container for political discourse. Mapping contributes equally to the construction of experiential realities as to the representation of physical space, which also contains the potential to incorporate representations of temporality and rhythm to spatial schemata. Thus maps construct realities as much as they represent them and coproduce space as much as the political identities of people who inhabit them. Maps are active texts and have the ability to promote social change (Pickles 146). It is no wonder, then, that artists, theorists and activists alike readily engage in the conflicted praxis of mapping. This critical engagement “becomes a method to track the past, embody memories, explain the unexplainable” and manifest the latent (Ibarra 66). In this paper I present a short case study of Bangalore: Subjective Cartographies a new media art project that aims to model a citizen driven effort to participate in a critical form of cartography, which challenges dominant representations of the city-space. I present a critical textual analysis of the maps produced in the workshops, the artist statements relating to these works used in the exhibition setting, and statements made by the participants on the project’s blog. This “praxis-logical” approach allows for a focus on the project as a space of aggregation and the communicative processes set in motion within them. In analysing such projects we could (and should) be asking questions about the functions served by the experimental concepts under study—who has put it forward? Who is utilising it and under what circumstances? Where and how has it come into being? How does discourse circulate within it? How do these spaces as sites of emergent forms of resistance within global capitalism challenge traditional social movements? How do they create self-reflexive systems?—as opposed to focusing on ontological and technical aspects of digital mapping (Renzi 73). In de-emphasising the technology of digital cartography and honing in on social relations embedded within the text(s), this study attempts to complement other studies on digital mapping (see Strom) by presenting a case from the field of politically oriented tactical media. Bangalore: Subjective Cartographies has been selected for analysis, in this exploration of media as “zone.” It goes some way to incorporating subjective narratives into spatial texts. This is a three-step process where participants tapped into spatial subjectivities by data collection or environmental sensing led by personal reflection or ethnographic enquiry, documenting and geo-tagging their findings in the map. Finally they engaged an imaginative or ludic process of synthesising their data in ways not inherent within the traditional conventions of cartography, such as the use of sound and distortion to explicate the intensity of invisible phenomena at various coordinates in the city-space. In what follows I address the “zone” theme by suggesting that if we apply McLuhan’s notion of media as environment together with Henri Bergson’s assertion that visibility and tangibility constitutes the potential for action to digital maps, projects such as Bangalore: Subjective Cartographies constitute a “contact zone.” A type of zone where groups come together at the local level and flows of discourse about art, information communication, media, technology, and environment intersect with local histories and cultures within the cartographic text. A “contact zone,” then, is a site where latent subjectivities are manifested and made potentially politically potent. “Contact zones,” however, need not be spaces for the aggrieved or excluded (Renzi 82), as they may well foster the ongoing cumulative politics of the mundane capable of developing into liminal spaces where dominant orders may be perforated. A “contact zone” is also not limitless and it must be made clear that the breaking of cartographic convention, as is the case with the project under study here, need not be viewed as resistances per se. It could equally represent thresholds for public versus private life, the city-as-text and the city-as-social space, or the zone where representations of space and representational spaces interface (Lefebvre 233), and culture flows between the mediated and ideated (Appadurai 33–36). I argue that a project like Bangalore: Subjective Cartographies demonstrates that maps as urban text form said “contact zones,” where not only are media forms such as image, text, sound, and video are juxtaposed in a singular spatial schematic, but narratives of individual and collective subjectivities (which challenge dominant orders of space and time, and city-rhythm) are contested. Such a “contact zone” in turn may not only act as a resource for citizens in the struggle of urban design reform and a democratisation of the facilities it produces, but may also serve as a heuristic device for researchers of new media spatiotemporalities and their social implications. Critical Cartography and Media Tactility Before presenting this brief illustrative study something needs to be said of the context from which Bangalore: Subjective Cartographies has arisen. Although a number of Web 2.0 applications have come into existence since the introduction of Google Maps and map application program interfaces, which generate a great deal of geo-tagged user generated content aimed at reconceptualising the mapped city-space (see historypin for example), few have exhibited great significance for researchers of media and communications from the perspective of building critical theories relating to political potential in mediated spaces. The expression of power through mapping can be understood from two perspectives. The first—attributed largely to the Frankfurt School—seeks to uncover the potential of a society that is repressed by capitalist co-opting of the cultural realm. This perspective sees maps as a potential challenge to, and means of providing emancipation from, existing power structures. The second, less concerned with dispelling false ideologies, deals with the politics of epistemology (Crampton and Krygier 14). According to Foucault, power was not applied from the top down but manifested laterally in a highly diffused manner (Foucault 117; Crampton and Krygier 14). Foucault’s privileging of the spatial and epistemological aspects of power and resistance complements the Frankfurt School’s resistance to oppression in the local. Together the two perspectives orient power relative to spatial and temporal subjectivities, and thus fit congruently into cartographic conventions. In order to make sense of these practices the post-oppositional character of tactical media maps should be located within an economy of power relations where resistance is never outside of the field of forces but rather is its indispensable element (Renzi 72). Such exercises in critical cartography are strongly informed by the critical politico-aesthetic praxis of political/art collective The Situationist International, whose maps of Paris were inherently political. The Situationist International incorporated appropriated texts into, and manipulated, existing maps to explicate city-rhythms and intensities to construct imaginative and alternate representations of the city. Bangalore: Subjective Cartographies adopts a similar approach. The artists’ statement reads: We build our subjective maps by combining different methods: photography, film, and sound recording; […] to explore the visible and invisible […] city; […] we adopt psycho-geographical approaches in exploring territory, defined as the study of the precise effects of the geographical environment, consciously developed or not, acting directly on the emotional behaviour of individuals. The project proposals put forth by workshop participants also draw heavily from the Situationists’s A New Theatre of Operations for Culture. A number of Situationist theories and practices feature in the rationale for the maps created in the Bangalore Subjective Cartographies workshop. For example, the Situationists took as their base a general notion of experimental behaviour and permanent play where rationality was approached on the basis of whether or not something interesting could be created out of it (Wark 12). The dérive is the rapid passage through various ambiences with a playful-constructive awareness of the psychographic contours of a specific section of space-time (Debord). The dérive can be thought of as an exploration of an environment without preconceptions about the contours of its geography, but rather a focus on the reality of inhabiting a place. Détournement involves the re-use of elements from recognised media to create a new work with meaning often opposed to the original. Psycho-geography is taken to be the subjective ambiences of particular spaces and times. The principles of détournement and psycho-geography imply a unitary urbanism, which hints at the potential of achieving in environments what may be achieved in media with détournement. Bangalore: Subjective Cartographies carries Situationist praxis forward by attempting to exploit certain properties of information digitalisation to formulate textual representations of unitary urbanism. Bangalore: Subjective Cartographies is demonstrative of a certain media tactility that exists more generally across digital-networked media ecologies and channels this to political ends. This tactility of media is best understood through textual properties awarded by the process and logic of digitalisation described in Lev Manovich’s Language of New Media. These properties are: numerical representation in the form of binary code, which allows for the reification of spatial data in a uniform format that can be stored and retrieved in-silico as opposed to in-situ; manipulation of this code by the use of algorithms, which renders the scales and lines of maps open to alteration; modularity that enables incorporation of other textual objects into the map whilst maintaining each incorporated item’s individual identity; the removal to some degree of human interaction in terms of the translation of environmental data into cartographic form (whilst other properties listed here enable human interaction with the cartographic text), and the nature of digital code allows for changes to accumulate incrementally creating infinite potential for refinements (Manovich 49–63). The Subjective Mapping of Bangalore Bangalore is an interesting site for such a project given the recent and rapid evolution of its media infrastructure. As a “media city,” the first television sets appeared in Bangalore at some point in the early 1980s. The first Internet Service Provider (ISP), which served corporate clients only, commenced operating a decade later and then offered dial-up services to domestic clients in the mid-1990s. At present, however, Bangalore has the largest number of broadband Internet connections in India. With the increasing convergence of computing and telecommunications with traditional forms of media such as film and photography, Bangalore demonstrates well what Scott McQuire terms a media-architecture complex, the core infrastructure for “contact zones” (vii). Bangalore: Subjective Cartographies was a workshop initiated by French artists Benjamin Cadon and Ewen Cardonnet. It was conducted with a number of students at the Srishti School of Art, Design and Technology in November and December 2009. Using Metamap.fr (an online cartographic tool that makes it possible to add multimedia content such as texts, video, photos, sounds, links, location points, and paths to digital maps) students were asked to, in groups of two or three, collect and consult data on ‘felt’ life in Bangalore using an ethnographic, transverse geographic, thematic, or temporal approach. The objective of the project was to model a citizen driven effort to subvert dominant cartographic representations of the city. In doing so, the project and this paper posits that there is potential for such methods to be adopted to form new literacies of cartographic media and to render the cartographic imaginary politically potent. The participants’ brief outlined two themes. The first was the visible and symbolic city where participants were asked to investigate the influence of the urban environment on the behaviours and sensations of its inhabitants, and to research and collect signifiers of traditional and modern worlds. The invisible city brief asked participants to consider the latent environment and link it to human behaviour—in this case electromagnetic radiation linked to the cities telecommunications and media infrastructure was to be specifically investigated. The Visible and Symbolic City During British rule many Indian cities functioned as dual entities where flow of people and commodities circulated between localised enclaves and the centralised British-built areas. Mirroring this was the dual mode of administration where power was shared between elected Indian legislators and appointed British officials (Hoselitz 432–33). Reflecting on this diarchy leads naturally to questions about the politics of civic services such as the water supply, modes of public communication and instruction, and the nature of the city’s administration, distribution, and manufacturing functions. Workshop participants approached these issues in a variety of ways. In the subjective maps entitled Microbial Streets and Water Use and Reuse, food and water sources of street vendors are traced with the aim to map water supply sources relative to the movements of street vendors operating in the city. Images of the microorganisms are captured using hacked webcams as makeshift microscopes. The data was then converted to audio using Pure Data—a real-time graphical programming environment for the processing audio, video and graphical data. The intention of Microbial Streets is to demonstrate how mapping technologies could be used to investigate the flows of food and water from source to consumer, and uncover some of the latencies involved in things consumed unhesitatingly everyday. Typographical Lens surveys Russell Market, an older part of the city through an exploration of the aesthetic and informational transformation of the city’s shop and street signage. In Ethni City, Avenue Road is mapped from the perspective of local goldsmiths who inhabit the area. Both these maps attempt to study the convergence of the city’s dual function and how the relationship between merchants and their customers has changed during the transition from localised enclaves, catering to the sale of particular types of goods, to the development of shopping precincts, where a variety of goods and services can be sought. Two of the project’s maps take a spatiotemporal-archivist approach to the city. Bangalore 8mm 1940s uses archival Super 8 footage and places digitised copies on the map at the corresponding locations of where they were originally filmed. The film sequences, when combined with satellite or street-view images, allow for the juxtaposition of present day visions of the city with those of the 1940s pre-partition era. Chronicles of Collection focuses on the relationship between people and their possessions from the point of view of the object and its pathways through the city in space and time. Collectors were chosen for this map as the value they placed on the object goes beyond the functional and the monetary, which allowed the resultant maps to access and express spatially the layers of meaning a particular object may take on in differing contexts of place and time in the city-space. The Invisible City In the expression of power through city-spaces, and by extension city-texts, certain circuits and flows are ossified and others rendered latent. Raymond Williams in Politics and Letters writes: however dominant a social system may be, the very meaning of its domination involves a limitation or selection of the activities it covers, so that by definition it cannot exhaust all social experience, which therefore always potentially contains space for alternative acts and alternative intentions which are not yet articulated as a social institution or even project. (252) The artists’ statement puts forward this possible response, an exploration of the latent aesthetics of the city-space: In this sense then, each device that enriches our perception for possible action on the real is worthy of attention. Even if it means the use of subjective methods, that may not be considered ‘evidence’. However, we must admit that any subjective investigation, when used systematically and in parallel with the results of technical measures, could lead to new possibilities of knowledge. Electromagnetic City maps the city’s sources of electromagnetic radiation, primarily from mobile phone towers, but also as a by-product of our everyday use of technologies, televisions, mobile phones, Internet Wi-Fi computer screens, and handheld devices. This map explores issues around how the city’s inhabitants hear, see, feel, and represent things that are a part of our environment but invisible, and asks: are there ways that the intangible can be oriented spatially? The intensity of electromagnetic radiation being emitted from these sources, which are thought to negatively influence the meditation of ancient sadhus (sages) also features in this map. This data was collected by taking electromagnetic flow meters into the suburb of Yelhanka (which is also of interest because it houses the largest milk dairy in the state of Karnataka) in a Situationist-like derive and then incorporated back into Metamap. Signal to Noise looks at the struggle between residents concerned with the placement of mobile phone towers around the city. It does so from the perspectives of people who seek information about their placement concerned about mobile phone signal quality, and others concerned about the proximity of this infrastructure to their homes due to to potential negative health effects. Interview footage was taken (using a mobile phone) and manipulated using Pure Data to distort the visual and audio quality of the footage in proportion to the fidelity of the mobile phone signal in the geographic area where the footage was taken. Conclusion The “contact zone” operating in Bangalore: Subjective Cartographies, and the underlying modes of social enquiry that make it valuable, creates potential for the contestation of new forms of polity that may in turn influence urban administration and result in more representative facilities of, and for, city-spaces and their citizenry. Robert Hassan argues that: This project would mean using tactical media to produce new spaces and temporalities that are explicitly concerned with working against the unsustainable “acceleration of just about everything” that our present neoliberal configuration of the network society has generated, showing that alternatives are possible and workable—in ones job, home life, family life, showing that digital [spaces and] temporality need not mean the unerring or unbending meter of real-time [and real city-space] but that an infinite number of temporalities [and subjectivities of space-time] can exist within the network society to correspond with a diversity of local and contextual cultures, societies and polities. (174) As maps and locative motifs begin to feature more prominently in media, analyses such as the one discussed in this paper may allow for researchers to develop theoretical approaches to studying newer forms of media. References Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalisation. Minneapolis: U of Minnesota P, 1996. “Bangalore: Subjective Cartographies.” 25 July 2011 ‹http://bengaluru.labomedia.org/page/2/›. Bergson, Henri. Creative Evolution. New York: Henry Holt and Company, 1911. Crampton, Jeremy W., and John Krygier. “An Introduction to Critical Cartography.” ACME: An International E-Journal for Critical Geography 4 (2006): 11–13. Chardonnet, Ewen, and Benjamin Cadon. “Semaphore.” 25 July 2011 ‹http://semaphore.blogs.com/semaphore/spectral_investigations_collective/›. Debord, Guy. “Theory of the Dérive.” 25 July 2011 ‹http://www.bopsecrets.org/SI/2.derive.htm›. Foucault, Michel. Remarks on Marx. New York: Semitotext[e], 1991.Hassan, Robert. The Chronoscopic Society: Globalization, Time and Knowledge in the Networked Economy. New York: Lang, 2003. “Historypin.” 4 Aug. 2011 ‹http://www.historypin.com/›. Hoselitz, Bert F. “A Survey of the Literature on Urbanization in India.” India’s Urban Future Ed. Roy Turner. Berkeley: U of California P, 1961. 425-43. Ibarra, Anna. “Cosmologies of the Self.” Elephant 7 (2011): 66–96. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991. Lovink, Geert. Dark Fibre. Cambridge: MIT Press, 2002. Manovich, Lev. The Language of New Media Cambridge: MIT Press, 2000. “Metamap.fr.” 3 Mar. 2011 ‹http://metamap.fr/›. McLuhan, Marshall, and Quentin Fiore. The Medium Is the Massage. London: Penguin, 1967. McQuire, Scott. The Media City: Media, Architecture and Urban Space. London: Sage, 2008. Pickles, John. A History of Spaces: Cartographic Reason, Mapping and the Geo-Coded World. London: Routledge, 2004. Pinder, David. “Subverting Cartography: The Situationists and Maps of the City.” Environment and Planning A 28 (1996): 405–27. “Pure Data.” 6 Aug. 2011 ‹http://puredata.info/›. Renzi, Alessandra. “The Space of Tactical Media” Digital Media and Democracy: Tactics in Hard Times. Ed. Megan Boler. Cambridge: MIT Press, 2008. 71–100. Situationist International. “A New Theatre of Operations for Culture.” 6 Aug. 2011 ‹http://www.blueprintmagazine.co.uk/index.php/urbanism/reading-the-situationist-city/›. Strom, Timothy Erik. “Space, Cyberspace and the Interface: The Trouble with Google Maps.” M/C Journal 4.3 (2011). 6 Aug. 2011 ‹http://journal.media-culture.org.au/index.php/mcjournal/article/viewArticle/370›. Wark, McKenzie. 50 Years of Recuperation of the Situationist International, New York: Princeton Architectural Press, 2008. Williams, Raymond. Politics and Letters: Interviews with New Left Review. London: New Left, 1979.

IntroductionThe Internet (especially in the so-called Web 2.0 phase), digital media and file-sharing networks have thrust copyright law under public scrutiny, provoking discourses questioning what is fair in the digital age. Accessible hardware and software has led to prosumerism – creativity blending media consumption with media production to create new works that are freely disseminated online via popular video-sharing Web sites such as YouTube or genre specific music sites like GYBO (“Get Your Bootleg On”) amongst many others. The term “prosumer” is older than the Web, and the conceptual convergence of producer and consumer roles is certainly not new, for “at electric speeds the consumer becomes producer as the public becomes participant role player” (McLuhan 4). Similarly, Toffler’s “Third Wave” challenges “old power relationships” and promises to “heal the historic breach between producer and consumer, giving rise to the ‘prosumer’ economics” (27). Prosumption blurs the traditionally separate consumer and producer creating a new creative era of mass customisation of artefacts culled from the (copyrighted) media landscape (Tapscott 62-3). Simultaneously, corporate interests dependent upon the protections provided by copyright law lobby for augmented rights and actively defend their intellectual property through law suits, takedown notices and technological reinforcement. Despite a lack demonstrable economic harm in many cases, the propertarian approach is winning and frequently leading to absurd results (Collins).The balance between private and public interests in creative works is facilitated by the doctrine of fair use (as codified in the United States Copyright Act 1976, section 107). The majority of copyright laws contain “fair” exceptions to claims of infringement, but fair use is characterised by a flexible, open-ended approach that allows the law to flex with the times. Until recently the defence was unique to the U.S., but on 2 January Israel amended its copyright laws to include a fair use defence. (For an overview of the new Israeli fair use exception, see Efroni.) Despite its flexibility, fair use has been systematically eroded by ever encroaching copyrights. This paper argues that copyright enforcement has spun out of control and the raison d’être of the law has shifted from being “an engine of free expression” (Harper & Row, Publishers, Inc. v. Nation Enterprises 471 U.S. 539, 558 (1985)) towards a “legal regime for intellectual property that increasingly looks like the law of real property, or more properly an idealized construct of that law, one in which courts seeks out and punish virtually any use of an intellectual property right by another” (Lemley 1032). Although the copyright landscape appears bleak, two recent cases suggest that fair use has not fallen by the wayside and may well recover. This paper situates fair use as an essential legal and cultural mechanism for optimising creative expression.A Brief History of CopyrightThe law of copyright extends back to eighteenth century England when the Statute of Anne (1710) was enacted. Whilst the length of this paper precludes an in depth analysis of the law and its export to the U.S., it is important to stress the goals of copyright. “Copyright in the American tradition was not meant to be a “property right” as the public generally understands property. It was originally a narrow federal policy that granted a limited trade monopoly in exchange for universal use and access” (Vaidhyanathan 11). Copyright was designed as a right limited in scope and duration to ensure that culturally important creative works were not the victims of monopolies and were free (as later mandated in the U.S. Constitution) “to promote the progress.” During the 18th century English copyright discourse Lord Camden warned against propertarian approaches lest “all our learning will be locked up in the hands of the Tonsons and the Lintons of the age, who will set what price upon it their avarice chooses to demand, till the public become as much their slaves, as their own hackney compilers are” (Donaldson v. Becket 17 Cobbett Parliamentary History, col. 1000). Camden’s sentiments found favour in subsequent years with members of the North American judiciary reiterating that copyright was a limited right in the interests of society—the law’s primary beneficiary (see for example, Wheaton v. Peters 33 US 591 [1834]; Fox Film Corporation v. Doyal 286 US 123 [1932]; US v. Paramount Pictures 334 US 131 [1948]; Mazer v. Stein 347 US 201, 219 [1954]; Twentieth Century Music Corp. v. Aitken 422 U.S. 151 [1975]; Aronson v. Quick Point Pencil Co. 440 US 257 [1979]; Dowling v. United States 473 US 207 [1985]; Harper & Row, Publishers, Inc. v. Nation Enterprises 471 U.S. 539 [1985]; Luther R. Campbell a.k.a. Luke Skyywalker, et al. v. Acuff-Rose Music, Inc. 510 U.S 569 [1994]). Putting the “Fair” in Fair UseIn Folsom v. Marsh 9 F. Cas. 342 (C.C.D. Mass. 1841) (No. 4,901) Justice Storey formulated the modern shape of fair use from a wealth of case law extending back to 1740 and across the Atlantic. Over the course of one hundred years the English judiciary developed a relatively cohesive set of principles governing the use of a first author’s work by a subsequent author without consent. Storey’s synthesis of these principles proved so comprehensive that later English courts would look to his decision for guidance (Scott v. Stanford L.R. 3 Eq. 718, 722 (1867)). Patry explains fair use as integral to the social utility of copyright to “encourage. . . learned men to compose and write useful books” by allowing a second author to use, under certain circumstances, a portion of a prior author’s work, where the second author would himself produce a work promoting the goals of copyright (Patry 4-5).Fair use is a safety valve on copyright law to prevent oppressive monopolies, but some scholars suggest that fair use is less a defence and more a right that subordinates copyrights. Lange and Lange Anderson argue that the doctrine is not fundamentally about copyright or a system of property, but is rather concerned with the recognition of the public domain and its preservation from the ever encroaching advances of copyright (2001). Fair use should not be understood as subordinate to the exclusive rights of copyright owners. Rather, as Lange and Lange Anderson claim, the doctrine should stand in the superior position: the complete spectrum of ownership through copyright can only be determined pursuant to a consideration of what is required by fair use (Lange and Lange Anderson 19). The language of section 107 suggests that fair use is not subordinate to the bundle of rights enjoyed by copyright ownership: “Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work . . . is not an infringement of copyright” (Copyright Act 1976, s.107). Fair use is not merely about the marketplace for copyright works; it is concerned with what Weinreb refers to as “a community’s established practices and understandings” (1151-2). This argument boldly suggests that judicial application of fair use has consistently erred through subordinating the doctrine to copyright and considering simply the effect of the appropriation on the market place for the original work.The emphasis on economic factors has led courts to sympathise with copyright owners leading to a propertarian or Blackstonian approach to copyright (Collins; Travis) propagating the myth that any use of copyrighted materials must be licensed. Law and media reports alike are potted with examples. For example, in Bridgeport Music, Inc., et al v. Dimension Films et al 383 F. 3d 400 (6th Cir. 2004) a Sixth Circuit Court of Appeals held that the transformative use of a three-note guitar sample infringed copyrights and that musicians must obtain licence from copyright owners for every appropriated audio fragment regardless of duration or recognisability. Similarly, in 2006 Christopher Knight self-produced a one-minute television advertisement to support his campaign to be elected to the board of education for Rockingham County, North Carolina. As a fan of Star Wars, Knight used a makeshift Death Star and lightsaber in his clip, capitalising on the imagery of the Jedi Knight opposing the oppressive regime of the Empire to protect the people. According to an interview in The Register the advertisement was well received by local audiences prompting Knight to upload it to his YouTube channel. Several months later, Knight’s clip appeared on Web Junk 2.0, a cable show broadcast by VH1, a channel owned by media conglomerate Viacom. Although his permission was not sought, Knight was pleased with the exposure, after all “how often does a local school board ad wind up on VH1?” (Metz). Uploading the segment of Web Junk 2.0 featuring the advertisement to YouTube, however, led Viacom to quickly issue a take-down notice citing copyright infringement. Knight expressed his confusion at the apparent unfairness of the situation: “Viacom says that I can’t use my clip showing my commercial, claiming copy infringement? As we say in the South, that’s ass-backwards” (Metz).The current state of copyright law is, as Patry says, “depressing”:We are well past the healthy dose stage and into the serious illness stage ... things are getting worse, not better. Copyright law has abandoned its reason for being: to encourage learning and the creation of new works. Instead, its principal functions now are to preserve existing failed business models, to suppress new business models and technologies, and to obtain, if possible, enormous windfall profits from activity that not only causes no harm, but which is beneficial to copyright owners. Like Humpty-Dumpty, the copyright law we used to know can never be put back together.The erosion of fair use by encroaching private interests represented by copyrights has led to strong critiques leveled at the judiciary and legislators by Lessig, McLeod and Vaidhyanathan. “Free culture” proponents warn that an overly strict copyright regime unbalanced by an equally prevalent fair use doctrine is dangerous to creativity, innovation, culture and democracy. After all, “few, if any, things ... are strictly original throughout. Every book in literature, science and art, borrows, and must necessarily borrow, and use much which was well known and used before. No man creates a new language for himself, at least if he be a wise man, in writing a book. He contents himself with the use of language already known and used and understood by others” (Emerson v. Davis, 8 F. Cas. 615, 619 (No. 4,436) (CCD Mass. 1845), qted in Campbell v. Acuff-Rose, 62 U.S.L.W. at 4171 (1994)). The rise of the Web 2.0 phase with its emphasis on end-user created content has led to an unrelenting wave of creativity, and much of it incorporates or “mashes up” copyright material. As Negativland observes, free appropriation is “inevitable when a population bombarded with electronic media meets the hardware [and software] that encourages them to capture it” and creatively express themselves through appropriated media forms (251). The current state of copyright and fair use is bleak, but not beyond recovery. Two recent cases suggest a resurgence of the ideology underpinning the doctrine of fair use and the role played by copyright.Let’s Go CrazyIn “Let’s Go Crazy #1” on YouTube, Holden Lenz (then eighteen months old) is caught bopping to a barely recognizable recording of Prince’s “Let’s Go Crazy” in his mother’s Pennsylvanian kitchen. The twenty-nine second long video was viewed a mere twenty-eight times by family and friends before Stephanie Lenz received an email from YouTube informing her of its compliance with a Digital Millennium Copyright Act (DMCA) take-down notice issued by Universal, copyright owners of Prince’s recording (McDonald). Lenz has since filed a counterclaim against Universal and YouTube has reinstated the video. Ironically, the media exposure surrounding Lenz’s situation has led to the video being viewed 633,560 times at the time of writing. Comments associated with the video indicate a less than reverential opinion of Prince and Universal and support the fairness of using the song. On 8 Aug. 2008 a Californian District Court denied Universal’s motion to dismiss Lenz’s counterclaim. The question at the centre of the court judgment was whether copyright owners should consider “the fair use doctrine in formulating a good faith belief that use of the material in the manner complained of is not authorized by the copyright owner, its agent, or the law.” The court ultimately found in favour of Lenz and also reaffirmed the position of fair use in relation to copyright. Universal rested its argument on two key points. First, that copyright owners cannot be expected to consider fair use prior to issuing takedown notices because fair use is a defence, invoked after the act rather than a use authorized by the copyright owner or the law. Second, because the DMCA does not mention fair use, then there should be no requirement to consider it, or at the very least, it should not be considered until it is raised in legal defence.In rejecting both arguments the court accepted Lenz’s argument that fair use is an authorised use of copyrighted materials because the doctrine of fair use is embedded into the Copyright Act 1976. The court substantiated the point by emphasising the language of section 107. Although fair use is absent from the DMCA, the court reiterated that it is part of the Copyright Act and that “notwithstanding the provisions of sections 106 and 106A” a fair use “is not an infringement of copyright” (s.107, Copyright Act 1976). Overzealous rights holders frequently abuse the DMCA as a means to quash all use of copyrighted materials without considering fair use. This decision reaffirms that fair use “should not be considered a bizarre, occasionally tolerated departure from the grand conception of the copyright design” but something that it is integral to the constitution of copyright law and essential in ensuring that copyright’s goals can be fulfilled (Leval 1100). Unlicensed musical sampling has never fared well in the courtroom. Three decades of rejection and admonishment by judges culminated in Bridgeport Music, Inc., et al v. Dimension Films et al 383 F. 3d 400 (6th Cir. 2004): “Get a license or do not sample. We do not see this stifling creativity in any significant way” was the ruling on an action brought against an unlicensed use of a three-note guitar sample under section 114, an audio piracy provision. The Bridgeport decision sounded a death knell for unlicensed sampling, ensuring that only artists with sufficient capital to pay the piper could legitimately be creative with the wealth of recorded music available. The cost of licensing samples can often outweigh the creative merit of the act itself as discussed by McLeod (86) and Beaujon (25). In August 2008 the Supreme Court of New York heard EMI v. Premise Media in which EMI sought an injunction against an unlicensed fifteen second excerpt of John Lennon’s “Imagine” featured in Expelled: No Intelligence Allowed, a controversial documentary canvassing alleged chilling of intelligent design proponents in academic circles. (The family of John Lennon and EMI had previously failed to persuade a Manhattan federal court in a similar action.) The court upheld Premise Media’s arguments for fair use and rejected the Bridgeport approach on which EMI had rested its entire complaint. Justice Lowe criticised the Bridgeport court for its failure to examine the legislative intent of section 114 suggesting that courts should look to the black letter of the law rather than blindly accept propertarian arguments. This decision is of particular importance because it establishes that fair use applies to unlicensed use of sound recordings and re-establishes de minimis use.ConclusionThis paper was partly inspired by the final entry on eminent copyright scholar William Patry’s personal copyright law blog (1 Aug. 2008). A copyright lawyer for over 25 years, Patry articulated his belief that copyright law has swung too far away from its initial objectives and that balance could never be restored. The two cases presented in this paper demonstrate that fair use – and therefore balance – can be recovered in copyright. The federal Supreme Court and lower courts have stressed that copyright was intended to promote creativity and have upheld the fair doctrine, but in order for the balance to exist in copyright law, cases must come before the courts; copyright myth must be challenged. As McLeod states, “the real-world problems occur when institutions that actually have the resources to defend themselves against unwarranted or frivolous lawsuits choose to take the safe route, thus eroding fair use”(146-7). ReferencesBeaujon, Andrew. “It’s Not the Beat, It’s the Mocean.” CMJ New Music Monthly. April 1999.Collins, Steve. “Good Copy, Bad Copy: Covers, Sampling and Copyright.” M/C Journal 8.3 (2005). 26 Aug. 2008 ‹http://journal.media-culture.org.au/0507/02-collins.php›.———. “‘Property Talk’ and the Revival of Blackstonian Copyright.” M/C Journal 9.4 (2006). 26 Aug. 2008 ‹http://journal.media-culture.org.au/0609/5-collins.php›.Donaldson v. Becket 17 Cobbett Parliamentary History, col. 953.Efroni, Zohar. “Israel’s Fair Use.” The Center for Internet and Society (2008). 26 Aug. 2008 ‹http://cyberlaw.stanford.edu/node/5670›.Lange, David, and Jennifer Lange Anderson. “Copyright, Fair Use and Transformative Critical Appropriation.” Conference on the Public Domain, Duke Law School. 2001. 26 Aug. 2008 ‹http://www.law.duke.edu/pd/papers/langeand.pdf›.Lemley, Mark. “Property, Intellectual Property, and Free Riding.” Texas Law Review 83 (2005): 1031.Lessig, Lawrence. The Future of Ideas. New York: Random House, 2001.———. Free Culture. New York: Penguin, 2004.Leval, Pierre. “Toward a Fair Use Standard.” Harvard Law Review 103 (1990): 1105.McDonald, Heather. “Holden Lenz, 18 Months, versus Prince and Universal Music Group.” About.com: Music Careers 2007. 26 Aug. 2008 ‹http://musicians.about.com/b/2007/10/27/holden-lenz-18-months-versus-prince-and-universal-music-group.htm›.McLeod, Kembrew. “How Copyright Law Changed Hip Hop: An interview with Public Enemy’s Chuck D and Hank Shocklee.” Stay Free 2002. 26 Aug. 2008 ‹http://www.stayfreemagazine.org/archives/20/public_enemy.html›.———. Freedom of Expression: Overzealous Copyright Bozos and Other Enemies of Creativity. United States: Doubleday, 2005.McLuhan, Marshall, and Barrington Nevitt. Take Today: The Executive as Dropout. Ontario: Longman Canada, 1972.Metz, Cade. “Viacom Slaps YouTuber for Behaving like Viacom.” The Register 2007. 26 Aug. 2008 ‹http://www.theregister.co.uk/2007/08/30/viacom_slaps_pol/›.Negativland, ed. Fair Use: The Story of the Letter U and the Numeral 2. Concord: Seeland, 1995.Patry, William. The Fair Use Privilege in Copyright Law. Washington DC: Bureau of National Affairs, 1985.———. “End of the Blog.” The Patry Copyright Blog. 1 Aug. 2008. 27 Aug. 2008 ‹http://williampatry.blogspot.com/2008/08/end-of-blog.html›.Tapscott, Don. The Digital Economy: Promise and Peril in the Age of Networked Intelligence. New York: McGraw Hill, 1996.Toffler, Alvin. The Third Wave. London, Glasgow, Sydney, Auckland. Toronto, Johannesburg: William Collins, 1980.Travis, Hannibal. “Pirates of the Information Infrastructure: Blackstonian Copyright and the First Amendment.” Berkeley Technology Law Journal, Vol. 15 (2000), No. 777.Vaidhyanathan, Siva. Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity. New York; London: New York UP, 2003.

Setting the Mood Weirdly, everything feels the same. There’s absolutely no distinction for me between news, work, walking, gaming, Netflix, rock collecting, scrolling, messaging. I don’t know how this happened, but everything has simply blurred together. There’s a dreadful and yet soothing sameness to it, scrolling through images on Instagram, scrolling Netflix, walking the dog, scrolling the news, time scrolling by as I watch face after face appear or disappear on my screen, all saying something, yet saying nothing. Is this the rhythm of crisis in a slow apocalypse? Really, would it be possible for humans to just bore themselves into oblivion? Because in the middle of a pandemic, boredom feels in my body the same as doom ... just another swell that passes, like my chest as it rises and falls with my breath. This opening anecdote comes from combining narratives in two studies we conducted online during the COVID-19 pandemic in 2020: a global study, Massive and Microscopic Sensemaking: Autoethnographic Accounts of Lived Experience in Times of Global Trauma; and an Australian project, The Shut-In Worker: Working from Home and Digitally-Enabled Labour Practices. The Shut-In Worker project aimed to investigate the thoughts, beliefs, and experiences of Australian knowledge workers working from home during lockdown. From June to October 2020, we recruited twelve households across two Australian states. While the sample included households with diverse incomes and living arrangements—from metropolitan single person apartment dwellers to regional families in free standing households—the majority were relatively privileged. The households included in this study were predominantly Anglo-Australian and highly educated. Critically, unlike many during COVID-19, these householders had maintained their salaried work. Participating households took part in an initial interview via Zoom or Microsoft Teams during which they took us on workplace tours, showing us where and how the domestic had been requisitioned for salaried labour. Householders subsequently kept digital diaries of their working days ahead of follow up interviews in which we got them to reflect on their past few weeks working from home with reference to the textual and photographic diaries they had shared with us. In contrast to the tight geographic focus of The Shut-In Worker project and its fairly conventional methodology, the Massive and Microscopic Sensemaking project was envisaged as a global project and driven by an experimental participant-led approach. Involving more than 150 people from 26 countries during 2020, the project was grounded in autoethnography practice and critical pedagogy. Over 21 days, we offered self-guided prompts for ourselves and the other participants—a wide range of creative practitioners, scholar activists, and researchers—to explore their own lived experience. Participants with varying degrees of experience with qualitative methods and/or autoethnography started working with the research questions we had posed in our call; some independently, some in collaboration. The autoethnographic lens used in our study encouraged contributors to document their experience from and through their bodies, their situated daily routines, and their relations with embedded, embodied, and ubiquitous digital technologies. The lens enabled deep exploration and evocation of many of the complexities, profound paradoxes, fears, and hopes that characterise the human and machinic entanglements that bring us together and separate the planetary “us” in this moment (Markham et al. 2020). In this essay we draw on anecdotes and narratives from both studies that speak to the “Zoom experience” during COVID-19. That is, we use Zoom as a socio-technical pivot point to think about how the experience of liminality—of being on/off screen and ambiently in between—is operating to shift both our micro practices and macro structures as we experience and struggle within the rupture, “event”, and conjuncture that marks the global pandemic. What we will see is that many of those narratives depict disjointed, blurry, or confusing experiences, atmospheres, and affects. These liminal experiences are entangled in complex ways with the distinctive forms of commercial infrastructure and software that scaffold video conferencing platforms such as Zoom. Part of what is both enabling and troubling about the key proprietary platforms that increasingly host “public” participation and conversation online (and that came to play a dominant role during COVID19) in the context of what Tarleton Gillespie calls “the internet of platforms” is a sense of the hidden logics behind such platforms. The constant sense of potential dis/connection—with home computers becoming ambient portals to external others—also saw a wider experience of boundarylessness evoked by participants. Across our studies there was a sense of a complete breakdown between many pre-existing boundaries (or at least dotted lines) around work, school, play, leisure and fitness, public and media engagement, and home life. At the same time, the vocabulary of confinement and lockdown emerged from the imposition of physical boundaries or distancing between the self and others, between home and the outside world. During the “connected confinement” of COVID-19, study participants commonly expressed an affective sensation of dysphoria, with this new state of in betweenness or disorientation on and off screen, in and out of Zoom meetings, that characterises the COVID-19 experience seen by many as a temporary, unpleasant disruption to sociality as usual. Our contention is that, as disturbing as many of our experiences are and have been during lockdown, there is an important, ethically and politically generative dimension to our global experiences of liminality, and we should hold on to this state of de-normalisation. Much ink has been spilled on the generalised, global experience of videoconferencing during the COVID-19 pandemic. A line of argument within this commentary speaks to the mental challenge and exhaustion—or zoom fatigue as it is now popularly termed—that many have been experiencing in attempting to work, learn, and live collectively via interactive screen technologies. We suggest zoom fatigue stands in for a much larger set of global social challenges—a complex conjuncture of microscopic ruptures, decisions within many critical junctures or turning points, and slow shifts in how we see and make sense of the world around us. If culture is habit writ large, what should we make of the new habits we are building, or the revelations that our prior ways of being in the world might not suit our present planetary needs, and maybe never did? Thus, we counter the current dominant narrative that people, regions, and countries should move on, pivot, or do whatever else it takes to transition to a “new normal”. Instead, drawing on the work of Haraway and others interested in more than human, post-anthropocenic thinking about the future, this essay contends that—on a dying planet facing major global challenges—we need to be embracing liminality and “staying with the trouble” if we are to hope to work together to imagine and create better worlds. This is not necessarily an easy step but we explore liminality and the affective components of Zoom fatigue here to challenge the assumption that stability and certainty is what we now need as a global community. If the comfort experienced by a chosen few in pre-COVID-19 times was bought at the cost of many “others” (human and more than human), how can we use the discomfort of liminality to imagine global futures that have radically transformative possibilities? On Liminality Because liminality is deeply affective and experienced both individually and collectively, it is a difficult feeling or state to put into words, much less generalised terms. It marks the uncanny or unstable experience of existing between. Being in a liminal state is marked by a profound disruption of one’s sense of self, one’s phenomenological being in the world, and in relation to others. Zoom, in and of itself, provokes a liminal experience. As this participant says: Zoom is so disorienting. I mean this literally; in that I cannot find a solid orientation toward other people. What’s worse is that I realize everyone has a different view, so we can’t even be sure of what other people might be seeing on their screen. In a real room this would not be an issue at all. The concept of liminality originally came out of attempts to capture the sense of flux and transition, rather than stasis, that shapes culture and community, exemplified during rites of passage. First developed in the early twentieth century by ethnographer and folklorist Arnold van Gennep, it was later taken up and expanded upon by British anthropologist Victor Turner. Turner, best known for his work on cultural rituals and rites of passage, describes liminality as the sense of “in betweenness” experienced as one moves from one status (say that of a child) to another (formal recognition of adulthood). For Turner, community life and the formation of societies more broadly involves periods of transition, threshold moments in which both structures and anti-structures become apparent. Bringing liminality into the contemporary digital moment, Zizi Papacharissi discusses the concept in collective terms as pertaining to the affective states of networked publics, particularly visible in the development of new social and political formations through wide scale social media responses to the Arab Spring. Liminality in this context describes the “not yet”, a state of “pre-emergence” or “emergence” of unformed potentiality. In this usage, Papacharissi builds on Turner’s description of liminality as “a realm of pure possibility whence novel configurations of ideas and relations may arise” (97). The pandemic has sparked another moment of liminality. Here, we conceptualise liminality as a continuous dialectical process of being pushed and pulled in various directions, which does not necessarily resolve into a stable state or position. Shifting one’s entire lifeworld into and onto computer screens and the micro screens of Zoom, as experienced by many around the world, collapses the usual functioning norms that maintain some degree of distinction between the social, intimate, political, and work spheres of everyday life. But this shift also creates new boundaries and new rules of engagement. As a result, people in our studies often talked about experiencing competing realities about “where” they are, and/or a feeling of being tugged by contradictory or competing forces that, because they cannot be easily resolved, keep us in an unsettled, uncomfortable state of being in the world. Here the dysphoric experiences associated not just with digital liminality but with the broader COVID-19 epidemiological-socio-political conjuncture are illustrated by Sianne Ngai’s work on the politics of affect and “ugly feelings” in the context of capitalism’s relentlessly affirmative culture. Rather than dismissing the vague feelings of unease that, for many of us, go hand in hand with late modern life, Ngai suggests that such generalised and dispersed affective states are important markers of and guides to the big social and cultural problems of our time—the injustices, inequalities, and alienating effects of late capitalism. While critical attention tends to be paid to more powerful emotions such as anger and fear, Ngai argues that softer and more nebulous forms of negative affect—from envy and anxiety to paranoia—can tell us much about the structures, institutions, and practices that frame social action. These enabling and constraining processes occur at different and intersecting levels. At the micro level of the screen interface, jarring experiences can set us to wondering about where we are (on or off screen, in place and space), how we appear to others, and whether or not we should showcase and highlight our “presence”. We have been struck by how people in our studies expressed the sense of being handled or managed by the interfaces of Zoom or Microsoft Teams, which frame people in grid layouts, yet can shift and alter these frames in unanticipated ways. I hate Zoom. Everything about it. Sometimes I see a giant person, shoved to the front of the meeting in “speaker view” to appear larger than anyone else on the screen. People constantly appear and disappear, popping in and out. Sometimes, Zoom just rearranges people seemingly randomly. People commonly experience themselves or others being resized, frozen, or “glitched”, muted, accidentally unmuted, suddenly disconnected, or relegated to the second or third “page” of attendees. Those of us who attend many meetings as a part of work or education may enjoy the anonymity of appearing at a meeting without our faces or bodies, only appearing to others as a nearly blank square or circle, perhaps with a notation of our name and whether or not we are muted. Being on the third page of participants means we are out of sight, for better or worse. For some, being less visible is a choice, even a tactic. For others, it is not a choice, but based on lack of access to a fast or stable Internet connection. The experience and impact of these micro elements of presence within the digital moment differs, depending on where you appear to others in the interface, how much power you have over the shape or flow of the interaction or interface settings, or what your role is. Moving beyond the experience of the interface and turning to the middle range between micro and macro worlds, participants speak of attempting to manage blurred or completely collapsed boundaries between “here” and “there”. Being neither completely at work or school nor completely at home means finding new ways of negotiating the intimate and the formal, the domestic and the public. This delineation is for many not a matter of carving out specific times or spaces for each, but rather a process of shifting back and forth between makeshift boundaries that may be temporal or spatial, depending on various aspects of one’s situation. Many of us most likely could see the traces of this continuous shifting back and forth via what Susan Leigh Star called “boundary objects”. While she may not have intended this concept in such concrete terms, we could see these literally, in the often humorous but significantly disruptive introduction of various domestic actants during school or work, such as pets, children, partners, laundry baskets, beds, distinctive home decor, ambient noise, etc. Other trends highlight the difficulty of maintaining zones of work and school when these overlap with the rest of the physical household. One might place Post-it Notes on the kitchen wall saying “I’m in a Zoom meeting so don’t come into the living room” or blur one’s screen background to obscure one’s domestic location. These are all strategies of maintaining ontological security in an otherwise chaotic process of being both here and there, and neither here nor there. Yet even with these strategies, there is a constant dialectical liminality at play. In none of these examples do participants feel like they are either at home or at work; instead, they are constantly shifting in between, trying to balance, or straddling physical and virtual, public and private, in terms of social “roles” and “locations”. These negotiations highlight the “ongoingness” of and the labour involved in maintaining some semblance of balance within what is inherently an unbalanced dialectical process. Participants talked about and showed in their diaries and pictures developed for the research projects the ways they act through, work with, or sometimes just try to ignore these opposing states. The rise of home-based videoconferencing and associated boundary management practices have also highlighted what has been marginalised or forgotten and conversely, prioritised or valorised in prior sociotechnical assemblages that were simply taken for granted. Take for example the everyday practices of being in a work versus domestic lifeworld; deciding how to handle the labor of cleaning cups and dishes used by the “employees” and “students” in the family throughout the day, the tasks of enforcing school attendance by children attending classes in the family home etc. This increased consciousness—at both a household and more public level—of a previously often invisible and feminised care economy speaks to larger questions raised by the lockdown experience. At the same time as people in our studies were negotiating the glitches of screen presence and the weird boundarylessness of home-leisure-domestic-school-work life, many expressed an awareness of a troubling bigger picture. First, we had just the COVID lockdowns, you know, that time where many of us were seemingly “all together” in this, at home watching Tiger King, putting neighborly messages in our windows, or sharing sourdough recipes on social media. Then Black Lives Matters movements happened. Suddenly attention is shifted to the fact that we’re not all in this together. In Melbourne, people in social housing towers got abruptly locked down without even the chance to go to the store for food first, and yet somehow the wealthy or celebrity types are not under this heavy surveillance; they can just skip the mandatory quarantine. ... We can’t just go on with things as usual ... there are so many considerations now. Narratives like these suggest that while 2020 might have begun with the pandemic, the year raised multiple other issues. As many things have been destabilised, the nature or practice of everyday life is shifting under our feet. Around the world, people are learning how to remain more distanced from each other, and the rhythms of temporal and geographic movement are adapting to an era of the pandemic. Simultaneously, many people talk about an endlessly arriving (but never quite here) moment when things will be back to normal, implying not only that this feeling of uncertainty will fade, but also that the zone of comfort is in what was known and experienced previously, rather than in a state of something radically different. This sentiment is strong despite the general agreement that “we will never [be able to] go back to how it was, but [must] proceed to some ‘new normal’”. Still, as the participant above suggests, the pandemic has also offered a much broader challenge to wider, taken-for-granted social, political, and economic structures that underpin late capitalist nations in particular. The question then becomes: How do we imagine “moving on” from the pandemic, while learning from the disruptive yet critical moment it has offered us as a global community? Learning from Liminality I don’t want us to go back to “normal”, if that means we are just all commuting in our carbon spitting cars to work and back or traveling endlessly and without a care for the planet. COVID has made my life better. Not having to drive an hour each way to work every day—that’s a massive benefit. While it’s been a struggle, the tradeoff is spending more time with loved ones—it’s a better quality of life, we have to rethink the place of work. I can’t believe how much more I’ve been involved in huge discussions about politics and society and the planet. None of this would have been on my radar pre-COVID. What would it mean then to live with as well as learn from the reflexive sense of being and experience associated with the dis-comforts of living on and off screen, a Zoom liminality, if you will? These statements from participants speak precisely to the budding consciousness of new potential ways of being in a post-COVID-19 world. They come from a place of discomfort and represent dialectic tensions that perhaps should not be shrugged off or too easily resolved. Indeed, how might we consider this as the preferred state, rather than being simply a “rite of passage” that implies some pathway toward more stable identities and structured ways of being? The varied concepts of “becoming”, “not quite yet”, “boundary work”, or “staying with the trouble”, elaborated by Karen Barad, Andrew Pickering, Susan Leigh Star, and Donna Haraway respectively, all point to ways of being, acting, and thinking through and with liminality. All these thinkers are linked by their championing of murky and mangled conceptions of experience and more than human relations. Challenging notions of the bounded individual of rational humanism, these post-human scholars offer an often-uncomfortable picture of being in and through multiplicity, of modes of agency born out of a slippage between the one and the many. While, as we noted above, this experience of in betweenness and entanglement is often linked to emotions we perceive as negative, “ugly feelings”, for Barad et al., such liminal moments offer fundamentally productive and experimental modalities that enable possibilities for new configurations of being and doing the social in the anthropocene. Further, liminality as a concept potentially becomes radically progressive when it is seen as both critically appraising the constructed and conventional nature of prior patterns of living and offering a range of reflexive alternatives. People in our studies spoke of the pandemic moment as offering tantalizing glimpses of what kinder, more caring, and egalitarian futures might look like. At the same time, many were also surprised by (and skeptical of) the banality and randomness of the rise of commercial platforms like Zoom as a “choice” for being with others in this current lifeworld, emerging as it did as an ad hoc, quick solution that met the demands of the moment. Zoom fatigue then also suggests a discomfort about somehow being expected to fully incorporate proprietary platforms like Zoom and their algorithmic logics as a core way of living and being in the post-COVID-19 world. In this sense the fact that a specific platform has become a branded eponym for the experience of online public communicative fatigue is telling indeed. The unease around the centrality of video conferencing to everyday life during COVID-19 can in part be seen as a marker of anxieties about the growing role of decentralized, private platforms in “replacing or merging with public infrastructure, [thereby] creating new social effects” (Lee). Further, jokes and off-hand comments by study participants about their messy domestic interiors being publicized via social media or their boss monitoring when they are on and offline speak to larger concerns around surveillance and privacy in online spaces, particularly communicative environments where unregulated private platforms rather than public infrastructures are becoming the default norm. But just as people are both accepting of and troubled by a growing sense of inevitability about Zoom, we also saw them experimenting with a range of other ways of being with others, from online cocktail parties to experimenting with more playful and creative apps and platforms. What these participants have shown us is the need to “stay with the trouble” or remain in this liminal space as long as possible. While we do not have the space to discuss this possibility in this short provocation, Haraway sees this experimental mode of being as involving multiple actants, human and nonhuman, and as constituting important work in terms of speculating and figuring with various “what if” scenarios to generate new possible futures. As Haraway puts it, this process of speculative figuring is one of giving and receiving patterns, dropping threads, and so mostly failing but sometimes finding something that works, something consequential and maybe even beautiful, that wasn’t there before, of relaying connections that matter, of telling stories in hand upon hand, digit upon digit, attachment site upon attachment site, to craft conditions for flourishing in terran worlding. This struggle of course takes us far beyond decisions about Zoom, specifically. This deliberately troubling liminality is a process of recognizing old habits, building new ones, doing the hard work of reconsidering broader social formations in a future that promises more trouble. Governments, institutions, corporate entities, and even social movements like Transition Towns or #BuildBackBetter all seem to be calling for getting out of this liminal zone, whether this is to “bounce back” by returning to hyper-consumerist, wasteful, profit-driven modes of life or the opposite, to “bounce forward” to radically rethink globalization and build intensely localized personal and social formations. Perhaps a third alternative is to embrace this very transitional experience itself and consider whether life on a troubled, perhaps dying planet might require our discomfort, unease, and in-betweenness, including acknowledging and sometimes embracing “glitches” and failures (Nunes). Transitionality, or more broadly liminality, has the potential to enhance our understanding of who and what “we” are, or perhaps more crucially who “we” might become, by encompassing a kind of dialectic in relation to the experiences of others, both intimate and distant. As many critical commentators before us have suggested, this necessarily involves working in conjunction with a rich ecology of planetary agents from First People’s actors and knowledge systems--a range of social agents who already know what it is to be liminal to landscapes and other species--through and with the enabling affordances of digital technologies. This is an important, and exhausting, process of change. And perhaps this trouble is something to hang on to as long as possible, as it preoccupies us with wondering about what is happening in the lines between our faces, the lines of the technologies underpinning our interactions, the taken for granted structures on and off screen that have been visibilized. We are fatigued, not by the time we spend online, although there is that, too, but by the recognition that the world is changing. References Barad, Karen. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Duke UP, 2006. Gillespie, Tarleton. Custodians of the Internet: Platforms, Content Moderation, and the Hidden Decisions That Shape Social Media. Yale UP 2018. Haraway, Donna J. “SF: Science Fiction, Speculative Fabulation, String Figures, So Far.” Ada New Media 3 (2013). <http://adanewmedia.org/2013/11/issue3-haraway>. Lee, Ashlin. “In the Shadow of Platforms: Challenges and Opportunities for the Shadow of Hierarchy in the Age of Platforms and Datafication.” M/C Journal 24.2 (2021). <http://doi.org/10.5204/mcj.2750>. Markham, Annette N., et al. “Massive and Microscopic Sensemaking during COVID-19 Times.” Qualitative Inquiry Oct. 2020. <https://doi.org/10.1177/1077800420962477>. Ngai, Sianne. Ugly Feelings. Harvard UP, 2005. Nunes, Mark. 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