Journal articles on the topic 'Sebastian Themes'

Readers will most likely be aware of the works of Johann Sebastian Bach in the field of music, particularly of his Goldberg variations and the changes that can be rung, wherein aesthetically appealing alterations to structure produce a raft of colourful sounding themes. Similarly in the field of quadrature it is possible to revisit and re-establish well-known formulae by developing variations on the theme of a three-point interpolating quadratic formed to represent a function that is to be integrated.

The paper discusses the literary shaping of war traumas in the novels “The House of Remembrance and Oblivion” by Filip David, “The Delusion of St. Sebastian” by Vladimir Tabašević and “The Dog and the Double Bass” by Saša Ilić. The manner in which the Holocaust influences the life of Albert Weiss and the lives of other characters, decades after World War II, and the mystical contemplation of the meaning of evil stand out as the most important themes of David’s novel. The interpretation of “The Delusion of St. Sebastian” proceeds via the protagonist Karl and his attitude to the language he learned during the war. The war induces dissociative identity disorder, the protagonist’s adoption and subsequent overcoming of the victim’s position. The analysis of Ilić’s work focuses on the protagonist of the novel “The Dog and the Double Bass”, Filip Isaković, and his post-traumatic stress disorder, as well as psychiatric and anti-psychiatric treatment methods.

This paper responds, from a North American perspective, to Sebastian Kim’s plenary address at the 2016 annual meeting of the American Society for Missiology on the relationship between public theology and missiology. The paper reviews the contribution of North American missiologists to the reflection on the public witness of the church, highlights the published contributions of Hunsberger, Leffel, Pieterse, Hunt, Okesson and Fensham, while recognizing the contribution of practitioners such as Kenney and Simpson. The paper proposes that missiologists can contribute to the conversation with public theologians on the themes of theologies of culture, the missionary dimension of all theology, the clarification of the meaning of “church”, “world” and “publics,” the theme of repentance, and offering an inspiring transformative vision for a flourishing creation.

Up until 1814 Norway was a province governed from Copenhagen. After its defeat in the Napoleonic wars, Denmark was forced to give Norway to Sweden. On the political side, the direct results of these events were the establishment of the Norwegian state and the writing of the constitution. On the cultural and literary side, the union with Sweden created the condition for inquiries about national identity. But if Norway had a political identity, the foundation of a cultural identity took more time, mostly because of the lack of a unique, national language. This article focuses on some linguistic and political policies from the 1830s and their influence on literature. Important themes such as oral/written language, the conflicts between Henrik Wergeland and Johan Sebastian Welhaven, national/cultural identity, tradition/innovation will be analyzed.

The article deals with the early parliamentary elections in Austria, which resulted from conflicts inside the government. The situation provides a negative example of a long rule of grand coalition. Most Austrians had lost the trust in abilities of the cabinet made up by social democrats (SPÖ) and Austrian People's Party (ÖVP) to deal with problems of the day. The public demanded an end to controversies and change of political style. In the stalemate situation it was ÖVP which initiated irregular elections into National Council. It succeeded in connecting the dynamic and perspective personality of the leader Sebastian Kurz with the image of a new and open movement. During the campaign, it emphasized themes which the Austrian public considered important (migration and asylum policy, better security, reduction of taxes) in combination with professional political marketing. After the elections, negotiations revealed programmatic overlap between ÖVP and Freedom Party of Austria, which placed third, in a number of important areas. The new government worked out an ambitious reform program, for which it secured enough majority support in the National Council; also the favourable economic conditions helped. The article provides analysis of electoral programs and the respective stages of the electoral campaign, making use of extensive electoral materials, including unarchived ones. Besides filling a major descriptive-analytic gap in the Czech scholarly reflection of Austrian politics, the article probes into actual trends of Austrian electoral marketing and electoral behaviour.

ABSTRACTObjective: to know the women's perception in the postpartum about the provided health assistance during the labor and delivery at San Sebastian Birthing Center in District Federal, Brazil’s capital. Methodology: this is about a qualitative study, performed with ten women who experienced the delivery and postpartum period in this birthing center. The project was approved by the Ethics Committee of the Health State Secretary of the District Federal with protocol number 264/2007. Results: the themes of the study were found and classed in the following way: Pre-natal assistance, birth process and puerperal assistance. The women’s narrations were analyzed and it was referred in the major statements, humanization’s actions in the delivery moment and in the puerperal period, however the same women related scanty orientations and information in pre-natal appointments that would be very relevant to live these experiences with self-control and safety. Conclusion: the present study evidenced that at San Sebastian Birthing Center, the executed work correspond to a humanized assistance that is offered to the pregnant women who are admitted at this birthing center. The procedures that are used in this birthing center are humanized and they are according to World Health Organization’s recommendations, which were confirmed by the collected report of the women who participated of the study. Descriptors: birth; humanizing delivery; postpartum.RESUMOObjetivo: conhecer a percepção das puérperas sobre a assistência desenvolvida na Casa de Parto de São Sebastião do Distrito Federal. Metodologia: trata-se de estudo descritivo e exploratório, de abordagem qualitativa, com dez mulheres que vivenciaram o parto e puerpério na Casa de Parto após a aprovação do projeto de pesquisa pelo Comitê de Ética em Pesquisa da Secretaria de Estado em Saúde do Distrito Federal com parecer nº 264/2007. Resultados: as categorias temáticas encontradas foram: Assistência no pré-natal, Assistência no processo de parturição e Assistência no puerpério. Nas análises das falas das puérperas foi referido ações referentes à humanização da assistência no momento da parturição e puerpério, contudo as mesmas relataram escassez de orientações e informações no Pré-natal que julgaram ser importantes para vivenciar o parto e puerpério com segurança. Conclusão: o presente estudo evidenciou que o trabalho desenvolvido na instituição corresponde a uma assistência humanizada às parturientes que são acolhidas na Casa de Parto São Sebastião. Tais procedimentos utilizados estão em sintonia com as recomendações da Organização Mundial de saúde, o que foi constatado nos depoimentos colhidos das puérperas participantes do estudo. Descritores: parto; humanização no parto; puerpério. RESUMENObjetivo: conocer la percepción de las puérperas acerca de la asistencia desenvuelta en la Casa de São Sebastião del Distrito Federal. Metodología:trata-se de uno estudio qualitativo con diez mujeres que tuvieran sus partos e puerpérios en la Casa Del Parto. Las categorías temáticas encontradas fueron: Asistencia durante la gestación, Asistencia en el proceso de parturición y Asistencia en el puerpério. El proyecto fue aprobado por el Comité de Ética de la da Secretaria de Estado em Saúde do Distrito Federal com parecer nº 264/2007. Resultados: en análisis a las respuestas de las puérperas, fue citado acciones acerca de la humanización de la asistencia durante la parturición y puerpério, entretanto las mismas relataron la escasez de orientaciones y informaciones en el prenatal que juzgaban importantes para la seguridad en el parto y puerperio. Conclusiones: el presente estudio evidencio que el trabajo desenvuleto en la instituición corresponde a una asistencia humanizada a las parturientes que son acollidas en la Casa del Parto. Los procedimientos utilizados estan en sintonia con las recomendaciones de la Organización Mundial de Salud, lo que fue constatado en los depoimientos collidos de las puérperas participantes del estudio. Descriptores: parto; humanización del parto; puerperio.

The article presents results of research of editorial style of Oleksandr Ziloti are through the prism of own performance experience of author of prosecution of piano treatments of instrumental and vocal works. An organ prelude by Iohann Sebastian Bach and the part of vocal cycle by Maurice Ravel on two Jewish themes of “Kadish” are taken as an example to study. Editing is one of dominant vectors of Oleksandr Ziloti’s activities, because he only carried out writing of clavier of operas “Asleep Beauty” and “Queen of Spades” by Petro Chaikovskyi. Despite the fact that Chaikovskyi did not always agree with all the issues of Ziloti’s work, he highly appreciated the work of his editor, which is also noted in the article. A number of citations are given that substantiate the conclusions about the editorial work of Oleksandr Ziloti. However, the main author for Oleksandr Ziloti to work with is I. S. Bach. The given citations of such creative personalities as A. Rubinstein and A. Ossovsky reveal Oleksandr Ziloti’s attitude to the work of the German maestro not only from the prism of editing, but also from a performing and interpreting point of view. It is investigated the peculiarities of editing of I. S. Bach’s works, which were created at the time of Oleksandr Ziloti’s work in this genre. In addition, in his works he tries to be as close as possible to the original, covering works of different eras, styles, and genres. In view of this, Oleksandr Ziloti’s editions are useful in pedagogical and performing repertoire. That is why it is so important that the transcriptions of the artist take their place of honor on the piano stage.

Post-Traumatic Realism: Representations of History in Recent Irish NovelsThe aim of my essay is to describe major tendencies in contemporary Irish prose writing concerned with historical and political issues. The diversity of the themes and attitudes to the past necessitates a classification of the writings into several various groups of novels whereas my analysis of the modes of representing the intratextual universe paves the way for identifying a single literary convention (post-traumatic realism) which is typical of the works under discussion. Many of the quoted authors subscribe to historical revisionism which undermines the received historical narrative in Ireland and questions its aggressively nationalist model of patriotism. The novels by Sebastian Barry, Robert McLiam Wilson, Edna O’Brien or Julia O’Faolain, to name just a few, contest that model by demonstrating that it leads to violence, cultural stagnation and petrifying political divisions both in the Republic of Ireland and in Northern Ireland. In the age of the epistemological levelling of historiographic discourse and literary fiction the novels discussed in the essay meaningfully contribute to the debate over the Irish nation’s attitude to their own history and the need to conclude the painful chapters of the past connected with the Civil War as well as with the social and religious conflicts of the twentieth century. Realizm posttraumatyczny. Sposoby przedstawiania historii we współczesnych powieściach irlandzkich Celem niniejszego artykułu jest scharakteryzowanie głównych tendencji we współczesnej prozie irlandzkiej podejmującej tematykę historyczną i polityczną. Różnorodność tematów i postaw wobec przeszłości zmusza do wyodrębnienia co najmniej kilku odmiennych grup powieści, natomiast analiza sposobów prezentacji universum wewnątrztekstowego pozwala pokusić się o określenie jednej typowej konwencji literackiej, jaką w przypadku omawianych utworów jest realizm posttraumatyczny. Wielu z przytaczanych autorów wpisuje się także w nurt rewizjonizmu historycznego, który podważa zastaną narrację historyczną i obiegowy, nacechowany agresywnym nacjonalizmem model patriotyzmu. Powieści Sebastiana Barry’ego, Roberta McLiama Wilsona, Edny O’Brien czy Julii O’Faolain kontestują ów model, ukazując, że prowadzi on do przemocy, utrwalania podziałów politycznych i stagnacji kulturowej zarówno w Republice Irlandii, jak i w Irlandii Północnej. W dobie epistemologicznego równouprawnienia dyskursu historiograficznego i fikcji literackiej omawiane w artykule powieści konstruktywnie wpisują się w dyskusję nad stosunkiem narodu irlandzkiego do swojej historii, nad koniecznością zamknięcia raz na zawsze bolesnych rozdziałów związanych z wojną domową początku lat dwudziestych XX wieku i konfliktami na tle społecznym oraz religijnym.

In September 2014 Andrey Konchalovskiy's White Nights of Postman Alexey Tryapitsyn won Silver Lion for the Best Director at the Venice Film Festival. European critics and advanced public have regularly marked endowments of the Soviet and Russian film director. Throughout his career he has received numerous awards at prestigious European film festivals. There are Crystal Globe in Karlovy Vary for the Romance for Lovers (1974), Grand Prix at Cannes for Sibiriada (1979), the main prizes of San Sebastian for Uncle Vanya (1971) and Homer and Eddie (1989). Meanwhile, Konchalovsky's success among American mass audience and critics has been much more modest, though Andrey Konchalovsky was the first in the early 1980s, since the time of the first wave of Russian 1910-20's emigration, who attempted to connect deeply national, Russian spirit with Hollywood production technology-oriented international strategy in his works. Being established in the Soviet Union as an esteemed author, Konchalovskiy decided to change the film industry to start over his career. Nowadays, in the context of the festival success in the European and Soviet/Russian cinema circles and the lack of attention in the United States, a question arises, if one can consider this attempt as successful one. In this article the author tries identify Russian national motives, which the filmmaker has introduced into Hollywood culture through his creative method, and those originally Hollywood themes and topics that have appeared for the first time in the works of the recognized Soviet director. Basing on Konchalovskys American works the author tries to elicit creative value in their national and transnational synthesis and expose the extent of their productivity and sensemaking.

Misunderstanding can happen to everyone, either male or female, young or old. It happens to human beings in daily life, as a reflection of their genuine characteristics, that is fault and forgetfulness. The existence of them will not only set up misunderstandings but may bring about bad and good quality as well. As social beings, ones must make contact with others in their community. This kind of contact is the primary cause of the existence of misunderstanding. Literature, as the expression of the real life, of course, covers the whole human activities including misunderstanding, its cause and its effect. Shakespeare’s Twelfth Night, is a comic story meant to amuse the readers or audiences through misunderstandings and comical circumstances leading to the appearance of some mistakes. Misunderstandings are mostly caused by the disguise of Viola as a boy. Because of the mystery, Antonio accuses her of being ungrateful and claims her to return the purse he gave before. Sir Andrew and Sir Toby attack her and Sebastian by mistake. Malvolio thinks her a gentleman when she is delivering messages and love letters to Olivia. The peak of all is that Olivia falls in love with Viola. She is sure that Viola is a real good-looking boy. She, Olivia, marries Sebastian by mistake. Meanwhile, Orsino who realizes that Olivia has got married with Sebastian, marries Viola in the end. The four main characters become two pairs of newly married couples and live happily. Sebastian lives happily with Olivia and Orsino lives peacefully with Viola. Misunderstandings have close relationship with the theme, the main idea. It can be a means of finding theme of the story by analyzing every happening of the play. So, there is a relationship of cause and effect between misunderstanding and theme, as one unity supporting one another. Misunderstandings causing the conflicts among characters become the way to find love theme of the story through analyzing all subject matters. It means misunderstandings can bring about love and marriage between them, primarily the main four characters and they lead to love theme of the story.

Für die Medizin des 21. Jahrhunderts in Deutschland und der westlichen Welt gibt es vor allem drei dominierende Themen: Auswirkungen der Klimaveränderungen, Pandemien und chronische Erkrankungen. Die moderne Medizin zeigt sich überaus erfolgreich in der Akutbehandlung der dominierenden Erkrankungen des 20. Jahrhunderts. Diese Werkzeuge der Akutmedizin – vor allem ein rein medikamentöser Ansatz – auch bei chronischen Erkrankungen einzusetzen, erweist sich als deutlich weniger erfolgreich – bei gleichzeitig eskalierenden Kosten. Derzeit werden täglich über 1 Mrd. Euro pro Tag im Gesundheitssystem umgesetzt, Tendenz steigend, die Lebenserwartung (Eurostaaten) stagniert aber seit 2015 (Männer: 78,6, Frauen 83,6 Jahre, in den Coronajahren sogar rückläufig) – die Anzahl der gesunden Lebensjahre nimmt ab.

Der Drogeriemarktfilialist dm ist ins Live-Shopping eingestiegen. Wer kauft, profitiert von Rabattcoupons. In seiner App inszeniert er mit Lieferanten wie L‘Oréal oder Neutrogena Beauty-Themen für die Kunden. Gerade lief eine Sendung dazu, was alles in den Urlaubskoffer sollte. Veganes Kochen mit den dm-Eigenmarken gehört ebenfalls zum Programm. Geschäftsführer Sebastian Bayer sagt, wie es bei „dm Live“ weitergeht und wie er mit der Industrie kooperiert.

Im Anschluss an einen Artikel Klaus Hofmanns im BJ 1995 (Link s.u.) trägt der Artikel weitere Beispiele des fraglichen Themas aus Werken Bachs zusammen und stellt eine weitere ähnliche Motivik bei Telemann vor. Erwähnter Artikel: Klaus Hofmann: "Großer Herr, o starker König" – Ein Fanfarenthema bei Johann Sebastian Bach. BJ 1995, S. 31-46 Vergleiche auch: Klaus Hofmann: Nochmals: Bachs Fanfarenthema. BJ 1997, S. 177-180

Die Behandlung dieses vielschichtigen Themas erfordert die Zusammenfassung zahlreicher entscheidender Details zu persönlichen Zeugnissen, Lehrplänen und Schulliteratur sowie theologischen Interpretationen verschiedener Schulen. Das System der schulischen Bildung in Lüneburg wird aus den verfügbaren Dokumenten beschrieben; für Eisenach und Ohrdruf werden Andreas Reyhers Reformvorhaben und Materialien zur persönlichen Geschichte herangezogen. Frömmigkeit, Lerneifer und Befähigung zu höherer Bildung werden als Ziele erkannt. (Übertragung des englischen Resümees am Ende des Bandes) Vergleiche auch: Rainer Kaiser: Johann Sebastian Bach als Schüler einer "deutschen Schule" in Eisenach? BJ 1994, S. 177-184

Background. Despite the vast musical material associated with the embodiment in the choral texture of the highest polyphonic form – the fugue, there is lack of the literature that would outline the specificity of this arrangement, its fundamental principles. Many researchers have addressed choral polyphony on the material of the works of various composers. However, the problem of identifying the specificity of the choral fugue hasn’t been highlighted yet as a major issue in domestic musicology. Among the most recent works, which include the consideration of the issue of choral fugue, we should mention the capital study by N. Simakova (2007). The author offers a classification of choral fugue, depending on the accompaniment presence or absence. N. Simakova points out the importance of the timbre content of the theme for emphasizing the figurative content of the words, since the most striking in the process of the deployment of the fugue is the register-timbre modus, and the timbre coloring of soprano, alto, tenor and bass gives a relief figurative representation. Objectives. The article’s subject is to reveal genre and performance peculiarities of the choral fugue “Und er wird Israel” from the cantata BWV 131 by Johann Sebastian Bach. The comparative analysis of two editions of the cantata – choral and instrumental (organ fugue BWV 131a) – reveals the determinants of the choral fugue connected with the peculiarities of its performance. Methods. The study is based on systematic-analytical, comparative and semantic musicological approaches. Results. Two factors play a particularly important role in a choral fugue – the verbal text and the timbre coloring of the voices. This way, both themes of the fugue sound vivid and recognizable even to the unaccustomed listener, since they have different text assigned to the theme and each theme is placed in the voice that corresponds to it tonally. The first theme – light and full of hope – is assigned to the timbral voice that corresponds to it, such as the soprano, while the second theme is assigned to the timbral rich, “heavy” bass part. In any section of the cantata fugue, unlike in the organ version, the themes will be well recognizable thanks to the verbal text and the timbre coloring of the various voices, whereas the timbre of the organ, in comparison with the sound of the choral parts, is monolithic, and the sound “attack” is viscous, leading to a lack of separation in the melodic line. Thus, the presence of a verbal text, fixed to a particular theme (or part of it) and the timbral dramaturgy determine particularly the specificity of the choral fugue. However, the potential of the human voice is known to be limited by its tessitura depending the physical capabilities , which in turn affects the structure of the theme and the form in general. For the two-voice fugue theme, in which the author seeks to emphasize contrast, the timbre and tessitura peculiarities is the most convenient solution. It is important to compare the musical material of the two versions, to search for the differences and their causes, which are connected with the possibilities of the instrumental presentation of the fugue. So, in order to adapt it for twohand performance, in the organ work we occasionally observe simplification, “removal”, of the texture, as well as the addition of the musical text in order to “outplay” with the different functions using the manual keyboards and the pedal on the organ. An important feature of the choral fugue is the orchestra presence, its peculiar instrumental double, which gives it a special stability. As a rule, this or that instrument is attached to a particular timbre that is associated with specific parts of the chorus. In most cases, the orchestral part in a given cantata duplicates all of the theme material in the chorus. The orchestra also provides a solid harmonic foundation for the choral parts, especially where tonality could be interpreted in two ways. The alto part plays a passive role throughout the entire fugue, and a thematic lead is assigned to it only twice, and this is not accidental, since the alto part is “hidden” within the texture, and for a varied two-theme fugue, the comparison of different themes and their registers becomes important in the first place. In the cantata, the fugue is the culmination, the emotional climax of the entire cycle, it sounds rich and dense, and the bright timbre richness of the orchestra complements the general majestic character of the sound. In the organ fugue, however, it is vice versa: here one can sense the borders of the sections of the generally accepted fugue form much more clearly, and simplicity and elegance predominate. The presence of episodic moments of the redistribution of the thematic material in one part between two different voices (belonging to one voice in the original choral source) testifies to the secondary nature of the timbre factor in the instrumental fugue; the main thing here is the presence of the thematic voice-conducting itself. Therefore, in the clavier (organ) arrangement, one theme can be observed in different voices. All these examples make it possible to consider the choral fugue as a unique, independent form enriched with its own specific features. Conclusions. Despite the abundance of literature devoted to the fugue theory in general, the phenomenon of the choral fugue has so far received insufficient research attention. In order to understand the nature of the choral fugue, it is necessary to consider the influence that such specifically “choral” factors as timbre, register, tessitura, verbal text, ensemble, and others have on its structure. The comparative analysis of the musical scores of “Und er wird Israel” from Bach’s cantata BWV 131 and the organ fugue BWV 131a revealed differences between the choral primary source and its organ version, which makes it possible to consider them as factors contributing to a better understanding of the choral fugue peculiarities.

The Roman ‘Agora’ of Gytheum appears to be a large compound with an interior peristyle; its width is 52 m and its length at least 61 m. Excavations have revealed the remains of the north-east corner and a portion of the west wing. The extant architectural blocks allow the reconstruction of the colonnades. Column shafts were made of local red limestone and at least some of them were crowned with lotus-and-acanthus capitals. Three different interaxial column spacings are present. A single column must have stood on each corner of the peristyle. The style of the column capital suggests a date after the yearad100. The entablature is almost identical, in both style and dimensions, to the one found on the Captives' Facade at Corinth. The inscription on two epistyles reveals the private dedication of an exedra totheoi Sebastoiand the city. Most probably the exedra was behind the colonnaded space; the mention oftheoi Sebastoimight suggest imperial cult either in the exedra alone or both in the exedra and in the entire colonnaded compound. Quite possibly, and following A. Themos' suggestion, a large part of the colonnaded compound that is conventionally termed the ‘Agora’ can be identified with the Sebasteum/Caesareum of Gytheum; this latter structure is attested in other inscriptions from the city.

The article considers the reflection of the basic laws of the mystery of the XIV–XVI centuries in the musical and theatrical works of the French "synthetic theater" of the twentieth century. These are "The Martyrdom of Saint Sebastian" by G. d'Annunzio — C. Debussy (1911) and "The Good News of Mary" by P. Claudel (1912-1948). The purpose of the work is to establish the peculiarities of the operation of the principles of semantics and composition of the genre, revived at the end of the XIX century and further developed in the French musical theater. In interdisciplinary, hermeneutical and art criticism approaches to achieving this goal, we distinguish a comparative method that allows us to draw conclusions about the identity and difference of the elements of these works, as well as about the genre "codes" of mystery dramas that enter into dialogue over a significant (about 300 years) time interval. We are talking about a dialogue within the history of Western European theater. In favor of the scientific novelty and significance of the work, we present theses on the integration of the spiritual dimension into the space of the mystery drama of the twentieth century, as well as on the relevance of the spiritual messages of the French composers of the twentieth century, who created mystery dramas in line with the Christian tradition. Conclusions are drawn: About the functions of liturgical choirs in Latin in French mystery dramas of the twentieth century, revealing the spiritual meaning of the works considered in this article. On the interaction of the sacred and profane as the leading genre feature of the mystery drama of the XIV–XVI centuries and the twentieth century. About the preservation of the spatial vector "earth — sky" by the French mystery drama of the twentieth century. On the connection of the French mystery drama of the twentieth century with the spiritual problems of modernity. About the search by the French mystery drama of the twentieth century for the possibility of overcoming the discrepancies between the world, God and man. About the inclusion of the French mystery drama of the twentieth century in the general cultural context.

The year 2020, which is slowly coming to an end, was special in several respects. First and foremost, it was marked by the Covid-19 pandemic, which severely limited physical contact and, more importantly, completely changed our work and business habits. Literally overnight, we were forced to switch to (almost) entirely digital communications and telecommuting. As it turned out, we were obviously working in the right direction in the past, because this transition did not stop us completely. We also proved our digital competence in the editorial board of Les/Wood and continued our work smoothly, and already in late spring, when the first wave of the epidemic was just ending, published the spring issue, as planned for that time. It was a similar story for this issue. All the editorial meetings, the work on common documents, all the communication with authors and reviewers went online without major issues. Many thanks to all those involved in this process for their willingness to take on new challenges. The year 2020 will also be remembered for its resounding events, which were very important for Slovenian wood science, as it gained recognition for its excellence and general social importance. The Zois Prize, the highest state award of the Republic of Slovenia for the most important scientific research achievements of the year, was at the end of 2020 awarded to Prof. Dr. Katarina Čufar for her achievements in the development of dendrochronology and wood science, which is a great confirmation of her excellence and years of hard work in these fields. At the same time, this was proof that achievements in wood science can compete with the most important achievements in other scientific fields, such as physics and chemistry. Prof. Dr. Katarina Čufar also received the Golden Plaque from the University of Ljubljana for outstanding scientific research, exemplary teaching and achievements in enhancing the university's reputation, a recognition that only confirmed her outstanding abilities. Another important recognition of Slovenian wood science was demonstrated by the appointment of Prof. Dr. Dr. h.c. Nikolaj Torelli with the title "Professor Emeritus of the University of Ljubljana", which is awarded by to retired professors for their recognizable contributions to the operation, reputation and development of the University of Ljubljana. Of course, we also need to mention the prestigious "Donald Michie - Alan Turing" award received by Prof. Dr. Lidija Zadnik Stirn. As a proof of the excellence of our students, we are especially pleased to point to Eli Keržič,, who received the Jesenko Award for the best Master's student 2019 at the Biotechnical Faculty, which is also an important recognition of the high quality of study programmes related to wood science. All these awards and recognitions are presented in detail in this issue, as they are important evidence of the current academic excellence of Slovenian wood science, and also present a firm basis for its future development. At the Department of Wood Science and Technology, a number of very good, if not exceptional, diplomas were defended in September 2020. However, two graduates – Katarina Remic (Academic Study Programme in Wood Science and Technology) and Toni Šauperl (Professional Study Programme in Wood Engineering) – prepared the main findings of their diploma theses and co-authored them with their mentors in the form of scientific articles to be published in this issue. The articles are both extremely interesting. Among the co-authors of the scientific articles in this issue are some of our PhD students, Nina Škrk, Vanja Turičnik, Rožle Repič, Jaša Saražin and Jure Žigon. We are very happy when young people start writing articles, because it shows, on the one hand, the potential for scientific excellence in research, and it also represents a solid basis for the further development of technical terminology in Slovenian. Additionally, another event is undoubtedly important for the development of the journal Les/Wood. After pioneering the publication of original data and photographs at the Repository of the University of Ljubljana (RUL) in an earlier issue, Sebastian Dahle and co-authors, as well as Nina Škrk and co-authors, also used this practice in their articles in this issue. Thus, this approach seems to have caught on, keeping Les/Wood in step with the leading international journals.I am thus confident that you will find a lot of interesting reading in this issue. You are also welcome to prepare and submit your articles for publication in future issues so that Les/Wood can continue to develop. Thank you in advance.

Kinder, Jugendliche und Erwachsene nutzen Medien in sehr unterschiedlicher Weise. Insbesondere handlungstheoretische Ansätze der Medienforschung konnten überzeugend belegen, dass Menschen keine passive Zielscheibe von Medien sind, sondern diese aktiv nutzen. Medienrezeption und Medienaneignung wird als Teil sozialen Handelns verstanden, die Mediennutzung wird im Lebenskontext der Menschen verortet, es wird nach der Bedeutung der Medien im Alltag und für die Lebensbewältigung gefragt. Kulturtheoretisch motivierte Studien, die die Eigenleistungen der Individuen im Auswahlprozess und in der Konstruktion von Bedeutungen betonen, verdeutlichten eigensinnige Prozesse der Medienaneignung und eine Vielfalt medienkultureller Orientierungen. Im Bereich des Lernens mit Medien wurden die Chancen selbstgesteuerter Lernprozesse mit digitalen Medien in verschiedenen Forschungsprojekten herausgearbeitet. Ein kritischer Blick auf die Medienentwicklung und die Mediennutzung kann nicht verleugnen, dass es soziokulturelle Unterschiede und Formen sozialer Ungleichheit in der Mediennutzung gibt. In den letzten Jahren entstanden in diesem Zusammenhang vermehrt Studien zu Themenbereichen wie ‹Digital divide›, Zunahme medialer Wissens- und Bildungsklüfte, Bildungsbenachteiligung und Medienaneignung. Verschiedene Fachtagungen griffen die Thematik auf, z.B. der vom JFF Institut für Medienpädagogik in Forschung und Praxis und der Pädagogischen Hochschule Ludwigsburg/Abteilung Medienpädagogik veranstaltete Fachkongress «Soziale Ungleichheit – Medienpädagogik – Partizipation» am 17./18.10.2008 in Bonn und das von der Gesellschaft für Medienpädagogik und Kommunikationskultur e.V. (GMK) veranstaltete Forum «Geteilter Bildschirm – Getrennte Welten?» am 21.–23.11.2008 in Rostock. In diesen Studien und Fachtagungen ging es darum herauszuarbeiten, worin soziokulturelle Unterschiede in der Medienaneignung bestehen, was die Gründe hierfür sind, wie diese Unterschiede im Medienumgang im Hinblick auf gesellschaftliche Partizipationschancen zu bewerten sind und was daraus für die medienpädagogische Praxis folgt. Dabei wurde deutlich, dass sich soziokulturelle Unterschiede neben alters- und geschlechtsspezifischen Faktoren vor allem am formalen Bildungshintergrund festmachen. Diese Unterschiede verweisen aber – so das Resumee in verschiedenen Analysen nicht automatisch auf Aspekte sozialer Benachteiligung und Ungleichheit, sondern zunächst einmal auf andere medienbezogene Aneignungsmuster und Präferenzen. Mediennutzung wird zum Bestandteil sozialer Distinktion. Aspekte sozialer Ungleichheit in der Mediennutzung werden vor allem dann sichtbar, wenn es um vorhandene Anregungsmilieus geht. Hier wird mit Blick auf gesellschaftliche Partizipationschancen der medienpädagogische Handlungsbedarf in bildungsbenachteiligten Sozialmilieus deutlich: sehr viele Kinder und Jugendliche erhalten weder im Rahmen der familiären noch der schulischen Sozialisation hinreichend Anregung und Förderung für einen reflektierten Medienumgang. Gleichwohl haben diese Kinder und Jugendliche in verschiedenen Bereichen Erfahrungen, Kompetenzen und Stärken im Umgang mit Medien. Im Hinblick auf medienpädagogische Praxiskonzepte bedeutet dies, normative Orientierungen in bisherigen Medienkompetenzkonzepten kritisch zu hinterfragen und Förderkonzepte zu entwickeln, die besser auf die vorhandenen sozialen Kontexte, Bedürfnisse und Fähigkeiten der Kinder und Jugendlichen eingehen. Die vorliegende Ausgabe der Online-Zeitschrift Medienpädagogik bietet für die weitere Diskussion dieser Fragen in sechs Beiträgen Analysen und konzeptionelle Überlegungen. Interessant ist, dass in mehreren Beiträgen explizit auf die theoretischen Arbeiten von Pierre Bourdieu und seinen Arbeiten zum Habitus und den verschiedenen ‹Kapitalsorten› Bezug genommen wird. Im Spannungsfeld von lebenslagenbezogenen und mehr kulturtheoretisch orientierten Zugängen zeichnen sich hier Diskurslinien ab, die auf eine Schärfung und teilweise Neubestimmung des Verständnisses von Medienkompetenz und Medienbildung abzielen. In ihrem Beitrag über «Ungleiche Teilhabe – Überlegungen zur Normativität des Medienkompetenzbegriffs» bezieht sich Nadia Kutscher auf die Habitustheorie von Bourdieu und interpretiert auf diesem Hintergrund Befunde aus eigenen Studien und anderen empirischen Untersuchungen. Sie setzt sich kritisch mit dem Begriff der «Medienkompetenz» unter Aspekten milieuspezifischer Medienaneignung und damit verbundenen (medien-) pädagogischen Denkmustern und Handlungsformen auseinander. Nadia Kutscher plädiert für einen kritisch-reflexiven Medienkompetenzbegriff und eine darauf begründete Medienbildung, die einerseits darauf abzielt, Teilhabe zu ermöglichen, die aber auch Machtverhältnisse in Vorstellungen von kompetenter Mediennutzung angesichts lebensweltlicher Ungleichheiten aufdeckt und damit die Idee einer vielfach bildungsbürgerlich konnotierten Idee von Medienkompetenz in Frage stellt. Ralf Biermann bezieht sich in seinem Beitrag über «Die Bedeutung des Habitus-Konzepts für die Erforschung soziokultureller Unterschiede im Bereich der Medienpädagogik» ebenfalls auf Bourdieu. Es geht ihm zunächst darum, grundlegende Schnittstellen zwischen medienpädagogischen Ansätzen und der Habitus-Theorie von Bourdieu herauszuarbeiten und kommt zu dem Ergebnis, dass das Habitus-Konzept als Bezugsrahmen für medienpädagogische Arbeiten in Forschung und Praxis dienen kann, um die Genese und die Reproduktion soziokultureller Unterschiede in der Mediennutzung zu verstehen. Ralf Biermann konkretisiert diese Aussage, indem er die «Kapitalsorten»-Theorie Bourdieus auf den Begriff der Medienkompetenz bezieht und anschliessend danach fragt, wie distinktive Muster der Bewertung als Basis für die differenten Dispositionen bezüglich der Mediennutzung fungieren und wie diese für eine empirische Untersuchung miteinander verwoben werden sollten. Sebastian Hacke und Stefan Welling fragen in ihrem Beitrag über «Die Wissensgesellschaft und die Bildung des Subjekts – ein Widerspruch?» nach medienpädagogisch relevanten Diskrepanzen zwischen dem Diskurs der Wissensgesellschaft und jugendlichem Medienhandeln. In einem ersten Teil bezeichnen sie das Konstrukt «Wissensgesellschaft» als eine Denkform, die gegenwärtig sehr an volkswirtschaftlichen Verwertungskalkülen orientiert ist. Sie verdeutlichen dies an dem damit verknüpften Verständnis von «Kompetenz» und dem Menschenbild des «homo oeconomicus» und analysieren in vorhandenen Theorien zur Medienkompetenz zweckrationale und restringierende Tendenzen. In Abgrenzung hierzu argumentiert der Beitrag für eine milieuspezifische Differenzierung in Medienkompetenzkonzepten und für eine «praxeologische Perspektive» beim Verständnis jugendlichen Medienhandelns. Horst Niesyto setzt sich in dem Beitrag «Digitale Medien, soziale Benachteiligung und soziale Distinktion» zunächst kritisch mit kulturtheoretischen Ansätzen zur Mediensozialisation auseinander, die die Relevanz unterschiedlicher sozialer Lebenslagen unterschätzen. Er geht davon aus, dass trotz einer zu konstatierenden Pluralisierung von Lebensstilen unterschiedliche soziale Lebenslagen und Milieus nach wie vor eine wichtige Bedeutung für die Bildungs- und Entwicklungschancen von Menschen haben. Nach generellen Aussagen zu sozialer Ungleichheit, sozialer Benachteiligung, Habitus und (medialer) Distinktion werden am Beispiel des Themas «Digital Divide» Forschungsbefunde auf dem Hintergrund des Spannungsfelds von sozialer Benachteiligung und sozialer Distinktion referiert und eingeordnet. Der abschliessende Teil entwickelt ein Verständnis von milieusensibler Medienkompetenzbildung, welches die Medienpraxis der Subjekte in Zusammenhang mit vorhandenen (inneren und äusseren) Ressourcen zur Lebensbewältigung betrachtet. Auch Ingrid Paus-Hasebrink unterstreicht in ihrem Beitrag «Zur Relevanz von sozialer Ungleichheit im Kontext der Mediensozialisationsforschung» die Bedeutung unterschiedlicher sozialer Lagen für das Verständnis von Alltag und Lebenswelt von Heranwachsenden. Sie definiert soziale Milieus als «Manifestation des je spezifischen Zusammenhangs von sozialer Lage und Lebensentwurf der agierenden Personen» und skizziert zentrale Dimensionen eines mediensozialisationstheoretischen Konzepts als Grundlage für eine integrative und interdisziplinäre Forschungsperspektive. Der Beitrag stellt eine Panelstudie zur (Medien-)Sozialisation bei sozial benachteiligten Kindern in Österreich vor und konzentriert sich dabei auf die theoretische und methodologische Anlage dieser Studie. Ziel der Studie war es, Gemeinsamkeiten und Unterschiede in den je spezifischen Ausprägungen der Lebensführung von Familien zu identifizieren und Einflussfaktoren für die Mediensozialisation von Kindern zu benennen. Manuela Pietraß und Markus Ulrich beziehen sich in ihrem Beitrag «Medienkompetenz unter milieutheoretischer Betrachtung: Der Einfluss rezeptionsästhetischer Präferenzen auf die Angebotsselektion» auf den Milieuansatz von Gerhard Schulze und seine Überlegungen zu «Erlebnisrationalität» sowie auf das SINUS-Milieukonzept (SINUS Sociovision). Pietraß & Ulrich interessiert vor allem die Frage, auf welche Weise Medien die jeweilige Erlebnisrationalität bedienen. Hierzu stellt der Beitrag anhand einer empirischen Stichprobe Befunde aus einem Vergleich von zwei Online-Zeitungen (Bild.T-Online und FAZ.NET) hinsichtlich der Informations- und Unterhaltungsorientierung dieser Zeitungen vor und diskutiert diese Befunde auf dem Hintergrund von Leserdaten. Als ein Ergebnis wird festgehalten, dass Unterhaltungs- und Informationsorientierung nicht nur mit Bildung, sondern auch mit milieuspezifischen, medienästhetischen Präferenzen zusammenhängen, die in die Angebotsselektion mit einfliessen.

AbstractIn forensic science, signatures are identified by means of comparative handwriting analysis - not to be confused with graphological examination. To the authors' knowledge, no systematic investigation has hitherto taken place as to the effectiveness of subjecting signatures on old master paintings to such comparative analysis. Even when judgment is passed on signatures in art-historical publications, it is seldom based on an investigation which could stand up to the critical standards of handwriting experts. Partly due to insufficient knowledge of the relevant criteria, signature assessment therefore tends to be influenced in both a positive and a negative sense by opinions about the painting. (I.b.) This article describes the results of examinations of Rembrandt signatures on paintings from the period 1632-1642, conducted by a team of two forensic handwriting experts headed by the controller of the experiment. The Rembrandt Research Project team supplied a total of 123 photographs of signatures, 88 of which were deemed suitable for evaluation, 73 of them belonged to the 'Rembrandt' type, and 15 to the 'RHL van Rijn' type. Only aftcr our examination wcrc we able to confirm, on the basis of Vol umcs 11 and 111 of the Corpus, which of these signatures occur on paintings accepted by the RRP team as authentic Rembrandts, and which on de-attributed paintings. The monograms discussed in Volume I of the Corpus proved to be unsuitable for our investigation, due to the insufficient number of characteristics they yield. (I.d. and I.e.) In the examination of handwriting, the characteristics of a series of incontestably genuine signatures arc compared with the characteristics encountered in a series of signatures whose identity is to be established. This procedure was unfeasible for the examination in question, for, regardless of whether the usual methods of comparison can be applied to signatures rendered with a brush, the question arises as to which of the signatures on a paining are indisputably authentic. Reconnaissance of the signature problem shows that the art historian is unable, for various reasons, to quarantee that a painting established without a shadow of doubt as a Rembrandt actually bears the master's own signature. (I.c.) We therefore opted for a different procedure, but not until exploratory experiments had led us to expect that the usual methods of comparing handwriting would be feasible. (III.a.) Entirely ignorant of art-historical assessments of the paintings in question and their signatures, the hand writing experts analysed the available material on the basis of characteristics used in the comparison of normal signatures and handwriting (11.a.) The team's experiment-controller liaised with the art historians and evaluated the results statistically. (I.d.) The exploratory and statistical character of our investigation was one of the reasons for dispensing with a systematic enumeration of all the individual signature assessments. Working in this fashion, we selected a group of i 'Rembrandt'type signatures from the available material, signatures which formed a homogeneous group because of their shared characteristics. We called them the reference signatures. The homogeneous character of the reference group reflects, in our opinion, the recognizable and reproducible characteristics of Rembrandt's signature. The reference signatures are therefore assumed to have been executed by Rembrandt himself. With the aid of the group of reference signatures, the other material was further evaluated. The outcome was a list in which the signatures are graded as to their probable authenticity. In forensic handwriting comparison, probability gradations stem from the statistical character of the comparison process. (II.b.) They permit nuances to be made in the assessment of a signature. The extent to which identification criteria are satisfied, the consequences of restorations and other doubtful elements which are hard to assess, especially in the case of negative judgment (V.b.), are reflected in the individual probability gradations. Figures 1, 2 and 3 show three signatures from the reference group, accompanied by a number of shared characteristics occurring in the reference group. (IV.a) Figures 4 and 5 show signatures which have been assigned a lower probability gradation; one (figure 4) graded authentic, the other (figure 5) as not. (IV.b.) Only the first four letters of the signature in figure 7 are regarded as authentic; it is one of the seven examined signatures containing only a 't'. (V.b.) This procedure skirts the problem of non-guaranteed comparative signatures. Statistical evaluation of the results can also provide an insight into the question of whether the usual techniques for examining handwriting can be successfully applied to signatures on paintings. If the assessments thus obtained prove to be reliable, they may generate further valuable art-historical information. The results of the examination of the 73 'Rembrandt'-type signa tures are summarized in a table in which the signature assessments are related to the qualifications of the paintings as recorded in Volumes 11 and 111 of the Corpus. This table does not give the probability gradations, which arc however for the sake of convenience simply grouped into 'authentic' and 'non-authentic'. (V.a. and Table I) The table contains the most pertinent statistical data. In order to test thc reliability of the handwriting experts' assessment statistically, we employed a ratio based on signatures occurring on non-authentic paintings. Reliability proved to be almost 90%. Unfortunately, authentic paintings arc not suitable subjects for this kind of test. Evaluation of the results leads us to conclude that, under conditions to be described in greater detail, handwriting examination techniques arc in fact applicable to the assessment of signatures on paintings. The procedure described here only yields results when a large number of signatures with suflicient information content are available. The 73 'Rembrandt'-type signatures permitted the formation of a reference group, but the 15 'RHL van Rijn' specimens were not enough. (V.b.) On the assumption that the handwriting experts' judgment was reliable, only about 40% of the paintings established by the RRP team as authentic were actually signed by Rembrandt himself. It transpired that one of the reference signatures came from a pupil's work (figure 6), as did two others regarded as authentic, albeit with a lower probability gradation. The handwriting experts' results thus supply independent corroboration of the art-historical opinion that Rembrandt signed studio work. (V.b. and Table I) Comparison of the results of our investigation with corresponding assessments of 'Rembrandt'-type signatures by the RRP team yielded 11 controversial opinions: 8 among the 47 authentic paintings and 3 among the 26 unauthentic ones. (V.C.I.) Apart from the experience of the handwriting experts, controversies stem from the fundamentally different approaches of the two disciplines in forming their judgment by means of selecting reference signatures and evaluating characteristics. The fact that the handwriting experts reject more signatures on authentic paintings and accept more in the case of unauthentic ones than the art historians is due to the two disciplines' different kinds of knowledge about the relationship between signature and painting. (V.c.2.) Statistical evaluation of the collaboration of the two fields leads to the general conclusion that the intervention of the handwriting experts results in significantly more rejections of signatures on authentic paintings than has been previously established by the art historians. Moreover, on the basis of results obtained by the two disciplines in the case of the 47 authentic paintings, the statistical expectation is that of all the signed authentic paintings by Rembrandt, roughly half do not (any longer) bear his own signature. (V.c.3) It is to be expected that distinct photographic enlargements, in combination with in situ scientific examination of the material condition of the signature and its direct surroundings, will improve the reliability of signature assessment. Keith Moxey, Peasants, Warriors, and Wives. Popular Imagery in the Keformation, (The University of Chicago Press. Chicago and London, 1989). 165 Seiten mit 57 Schwarz-welß-Abbildungen. In den USA ist in den letzten Jahren eine zunehmende Aufmerksamkeit für die deutsche Kunst der Dürerzeit und speziell der Reichsstadt Nürnberg zu verzeichnen. Die bedeutenden Ausstellungen 'Gothic and Renaissance Art in Nuremberg 1300-1550' (1986) und 'The World in Miniature. Engravings by the German Little Masters' (1988/89) sowie eine Reihe von Dissertationen manifestieren dieses Interesse, dem auch das vorliegende Buch zu verdanken ist. Der Autor hat sich seit seiner Dissertation über Pieter Aertsen und Joachim Beuckelaer (1977) der Erforschung der profanen und populären Bildwclt des 15. und 16. Jahrhunderts in Deutschland und den Niederlanden gewidmet und dabei die Frage nach den gesellschaftlichen Funktionen und Intentionen solcher Darstellungen im Medium der Druckgraphik in den Mittelpunkt gerückt. Der vorliegende Band präsentiert drei Studien zu thematischen Schwerpunkten des Nürnberger Einblattholzschnitts im Zeitalter der Reformation, verbunden durch weitere Kapitel über die historische Situation Nürnbergs und über die medialen Charakteristika von Holzschnitt und Einblattdruck. Der wissenschaftliche Apparat belegt, daß Moxey die reiche deutschsprachige Literatur zur Nürnberger Kunst- und Lokalgeschichte gründlich studiert hat. Seine Übersetzungen der Texte der Einblattdrucke (in den Anmerkungen nach den Originalen transkribiert und zitiert) sind akzeptabel. Das Buch wird mit einer hermeneutischen Standorthestimmung eingeleitet, was angesichts des gegenwärtigen Pluralismus der Kunstbegriffe und Methodenansätze zunehmend zum Erfordernis wissenschaftlichen Verantwortungsbewußtseins wird. Der Versuch, Bedeutung und Funktion populärer Bildmedien der Vergangenheit und ihrer Darstellungen zu ermitteln, darf sich weder auf einen ästhetisch definierten Kunstbegriff verpflichten, noch sich auf Methoden verlassen, die an diesem Kunstbegriff ausgerichtet sind. Während zum Beispiel die Ikonologie Bilder als Dokumente weltanschaulicher Einstellungen betrachtet und ihre Bedeutung an die gcistesgeschichtliche Stellung ihrer inhaltlichen Aussagen bindet, stellt sich bei den populären Bildmedien der Reformationszeit die Frage nach ihrer nicht nur reflektierenden, sondern aktiv gestaltenden Rolle als Kommunikationsmittel bei der Artikulierung gesellschaftlicher Interessen und politischer Absichten. Damit gewinnen für den Kunsthistoriker Fragestellungen der Soziologie und der Semiotik vorrangige Bedeutung. Es ergibt sich aber das Problem, daß moderne Begriffe wie 'Klasse' oder 'Ideologie' die Rekonstruktion historischer Vcrständnishorizonte behindern können. Moxey sicht dieses Problem, neigt aber dazu, ihm in Richtung auf cincn meines Erachtens oberflächlichen Pragmatismus auszuweichen, wenn er mit Hayden White postuliert, der Historiker könne nur die Fragen stellen, die ihm seine eigene Zeit aufgibt. Es wird sich zeigen, daß diese Einstellung problematische Konsequenzen hat. Der Überblick über die historische Situation Nürnbergs (Kapitel i) hebt folgende Faktoren hervor: die oligarchische Herrschaft des Handelspatriziats mit rigider Kontrolle über alle Aktivitäten der unteren Bevölkerungsschichten; die Propagierung einer vom Patriziat definierten kulturellen Identität des Nürnberger Bürgertums durch öffentliche Darbietungen (Schembartlauf, Fastnachtsspiele), bei denen die Abgrenzung von unbürgerlichen Lebensformen, personifiziert durch Narren und Bauern, eine wesentliche Rolle spielt; die Verbundenheit des herrschenden Patriziats mit der kaiserlichen Sache trotz Religonskriegen und konfessionellen Gegensätzen; der Beitrag der nationalistischen Ideen der Nürnberger Humanisten zum rcichsstädtischcn Selbstverständnis ; die Lösung des Konflilzts zwischen protestantischem Bekenntnis und Kaisertreue mit Hilfe von Luthers Lehre der 'zwei Welten'. Kapitel 2 ('The Media: Woodcuts and Broadsheets') behandelt die Aufgaben des Holzschnitts, die Bedingungen seiner Herstellung und Verbreitung im Zusammenhang mit dem rasanten Auf-stieg des Buch- und Flugblattdrucks und einer auf Aktualität zielenden Publizistik, sowie die Stellung der Künstler als Vorlagenzeichner, die von den Druckern und Verlegern weitgehend abhängig waren. Bisherige Versuche, Holzschnitte und Illustrationen als Ausdruck persönlicher Überzeugungen der Vorlagen zeichner zu deuten, mußten daher in die Irre führen, wie Moxey am Beispiel der Brüder Beham belegt. Zu den Rahmenbedingungen der medialen Funktion Nürnberger Holzschnitte gehört aber noch ein weiterer Faktor, den Moxey nicht berücksichtigt: der deutliche Gegensatz zwischen Holzschnitt und Kupferstich im Hinblick auf Verbreitung, Themenwahl, Darstellungsweise, Verhältnis Bild-Text und Rezeptionsweise, der unter anderem dazu führt, daß an übereinstimmende Themen bei gleichen Künstlern unterschiedliche formale und inhaltliche Anforderungen gestellt werden, und daß sogar Motive bei der Übernahme aus einem Medium in das andere ihre Bedeutung ändern können. Dieser Gegensatz ist charakteristisch für die Nürnberger Graphik und ist weder in der Augsburger noch in der niederländischen Graphik dieser Zeit annähernd vergleichbar deutlich ausgeprägt. Kapitel 3 ('Festive Peasants and Social Order') ist die überarbeitete Fassung eines Aufsatzes, der in 'Simiolus' 12, 1981/2 unter dem Titel 'Sebald Beham's Church Anniversary Holidays: Festive Peasants as Instruments of Repressive Humour' erschienen ist. In die damals aktuelle, von Hessel Miedema und Svetlana Alpers ausgelöste Debatte über die Deutung von Bauernfest-Darstellungen und die Funktion des Komischen in Kunst und Dichtung des 16. Jahrhunderts hatte dieser Aufsatz wegweisende Argumente eingeführt, die mir bei meinen eigenen Forschungen über die 'Bauernsatiren' sehr nützlich und klärend waren. Abgesehen von einem knappen Hinweis Konrad Rengers (Sitzungsberichte der Kunstgeschichtlichen Gesellschaft zu Berlin, neue Folge, 20, 1971/72, 9-16) hatte Moxey als erster auf den Zusammenhang der Bauernfest-Holzschnitte mit der literarischen Tradition der Bauernsatire aufmerksam gemacht, welche durch die Behams in der Verbindung von Bild und Text und der Nähe zu Dichtungen des Hans Sachs für Nürnberg aktualisicrt wurde. Diese 'Bauernfeste' sind folglich keine Zeugnisse eines folkloristischen Realismus, sondern komplexe Übertragungen literarischer Stereotype in Bilder. Die Bauern und ihre Kirmessen und Hochzeiten sind weniger Gegenstände und Ziele dieser Darstellungen, sondern fungieren als Mittel der Stände- und Moralsatire. Lediglich in einem Punkt haben mich Moxey's Argumente nicht überzeugt: für ihn scheinen die feiernden Bauern der Behams tatsächlich die Dorf-bewohner des Nürnberger Umlandes aus der ideologischen Sicht der Patrizier darzustellen. Dies deutet er an, wenn er die Holzschnitte als 'visual vehicle for the expression of class ridicule' betrachtet und im - neu formulierten - Schluß des Kapitels bei Betrachtern aus dem Nürnberger Handwerkerstand sentimentale Erinnerungen an das 'freiere' Leben ihrer bäuerlichen Vorfahren vermutet. Zu Beginn des Kapitels setzt er sich mit zwei Richtungen der traditionellen Interpretation auseinander, welche diese Holzschnitte als unmittelbare oder mittelbare, d.h. ideologische Reflexe gesellschaftlicher Wirklichkeit betrachteten. Aber auch er löst sich nicht ganz von dieser Prämisse, wie der neuformuliertc Titel 'Festive Peasants and Social Order' bekräftigt. Dagegen habe ich einzuwenden, daß die literarische Tradition der Bauern-und Bauernfestsatire in keinem unmittelbaren Zusammenhang mit der Ständelehre steht, welche die Rechte und Pflichten des Bauernstandes festlegt. Deren Gegenstand ist vielmehr der Bauer als Ernährer der Gesellschaft, der arbeitet und Abgaben leistet oder sich dieser ihm von Gott zugewiesenen Rolle verweigert. Darauf nehmen die Bauernfest-Holzschnitte nur insofern Bezug, als Ausschweifungen, Luxus und bewaffneter Streit die Einhaltung dieser bäuerlichen Pflichten gefährden. Im Vordergrund steht aber die Funktion dieser Holzschnitte als satirischer Spiegel 'bäurischer' Unsitten, so daß der Titel besser lauten sollte 'Festive Peasants and Social Behaviour'. Hier rächt es sich, daß Moxey den modernen soziologischen Bcgriff 'Klasse' anstelle des historisch angemessenen Begriffs 'Stand' verwendet. 'Stand' impliziert eine Reihe theologischer und moralischer Wertsetzungen, die dem politisch-ökonomisch definierten Begriff 'Klasse' fehlen. Aber gerade mit diesen 'argumentieren' die Holzschnitte und die ihnen entsprechenden Texte, und auf dieser Ebene des Arguments nehmen sie auch Stellung zur politischen und konfessionellen Aktualität. Eine andere Frage ist, welche Aspekte der Bedeutung der zeitgenössische Betrachter wahrnahm: politische, moralische, konfessionelle, literarische, brauchtumsmäßige usw. Dies dürfte von seiner eigenen jeweiligen Position als Bürger von Nürnberg oder einer anderen Stadt, Humanist, Lutheraner, Grundbesitzer mitbestimmt worden sein. Die 'Multifunhtionalität' der Baucrnsatire, auf die vor mir schon Hessel Miedema und Paul Vandenbroeck hingewiesen haben,2 d.h. die gesellschaftliche Differenziertheit der Rezeptionsweise, der die Holzschnitte sichtlich Rechnung tragen, darf nicht außer Betracht bleiben. In Kapitel 4 legt Moxey die erste kunsthistorische Untersuchung der zahlreichen Darstellungen von Landsknechten im Nürnberger Holzschnitt vor. Ausgangspunkt ist Erhard Schöns großformatiger 'Zug der Landsknechte' (um 1532, Geisberg 1226-1234), den Moxey als Heroisierung der kaiserlichen Militärmacht und damit als Nümberger Propaganda für die kaiserliche Politik deutet. Aktueller Anlaß ist die Türkengefahr mit der Belagerung Wiens 1532. Dies ist eine begründete, aber nicht in jeder Hinsicht überzeugende Hypothese. In den Serien einzelner Landsknechts-Figurcn van Schön (Geisberg 1981ff) und Hans Sebald Beham (Geisberg 273ff) weisen beigegebene Texte wiederholt darauf hin, daß es sich um Teilnehmer an kaiserlichen Feldzügen handelt. Im 'Zug der Landsknechte' wird zwar eine burgundischhabsburgische Fahne entrollt, aber der Text von Hans Sachs läßt den Hauptmann an der Spitze des Zuges ausdrücklich sagen: 'Die Landsknecht ich byn nemcn an/Eynem Herren hie ungemelt', was angesichts der von Moxey vermuteten pro-kaiserlichen Propaganda zumindest erklärungsbedürftig ist. Den werbenden und heroisierenden Drucken stellt Moxey eine größere Zahl von Holzschnitten gegenüber, die nicht von den Leistungen, Ansprüchen und Verdiensten der Söldner, sondern von den negativen Aspekten des Landsknechtslebens und -charakters handeln. Todesbedrohung, Sittenlosigkeit, Aggressivität und Abkehr von ehrlichem Erwerb aus Gier nach schnellem Geld werden teils anklagend teils satirisch thematisiert. Diese Gespaltenheit des Bildes vom Landsknecht in verschiedenen Drucken derselben Verleger nach Vorlagen derselben Zeichner wird mit einer widersprüchlichen Einstellung zum Krieg und mit Luthers eschatologischer Deutung der Türkengefahr als 'Gottesgeißel' in Verbindung gebracht. Der Landsknecht erscheint einerseits als 'Mittel der Bekräftigung kaiserlicher Macht angesichts einer nationalen Bedrohung', anderseits als 'Mittel der Ermahnung, daß die Türkeninvasion eher eine moralische als eine militärische Notlage darstellt, und daß physische Gewalt das ungeeignete und unangemessene Mittel der Auseinandersetzung mit einer Züchtigung Gottes ist.' Den entscheidenden Beleg für diese Deutung findet Moxey in Erhard Schöns 'Landsknechtstroß vom Tod begleitet'. Die Hure am Arm des Fähnrichs und der Hahn auf dem Trainwagen bezeichnen die sexuelle Zügellosigkeit der Landsknechte, gefangene Türken und straffällige Söldner marschieren gefesselt hintereinander. Der neben dem Trainwagen reitende Tod mit erhobenem Stundenglas wird von zwei Skeletten begleitet, von denen eines als Landsknecht, das andere als Türke gekleidet ist. Moxey: 'Durch das Auslöschen der Unterschiede zwischen Türkc und Landsknecht leugnet der Tod die heroischen Eigenschaften, die dem Söldner in Werken wie 'Der Zug der Landshnechte' zugeschrieben werden. In diesem Zusammenhang erscheint die kaiserliche Sache nicht wertvoller als die der Feinde.' Einer Verallgemeinerung dieser Deutung und ihrer Übertragung auf die anderen negativen Landsknechtsdarstellungen ist cntgegenzuhalten, daß es in diesen keinerlei Anspielungen auf die Türken gibt. Das gilt insbesondere für einen 'Troß'-Holzschnitt des Hans Sebald Beham (Geisberg 269-272), der um 1530, d.h. vor Schöns 'Troß vom Tod begleitet' entstanden sein dürfte und mit diesem das Vorbild von Albrecht Altdorfers 'Troß' aus dem 'Triumphzug Kaiser Maximilians I.' teilt. Behams 'Troß' steht unter dem Kommando eines 'Hurnbawel' (Hurenwaibel), der den von einem Boten überbrachten Befehl zum Halten angesichts einer kommenden Schlacht weitergibt. Der Troß aus Karren und Weibern, begleitet von unheroischen, degeneriert aussehenden Landsknechten oder Troßbuben, führt vor allem Fässer, Flaschen und Geflügel mit. Die Fahne wird von einem Hahn als dem bedeutungsträchtigen Feldzeichen dieses zuchtlosen und lächerlichem Haufens überragt. Moxey hat diesen Holzschnitt nicht berücksichtigt. Mein Eindruck ist, daß eine religiös oder ethisch motivierte ambivalente Einstellung zur Kriegführung im Allgemeinen oder zum Türkenkrieg im Besonderen nicht die Gegensätzlichkeit des Landsknechtsbildes erklären kann. Ich sehe vielmehr eine Parallele zu dem ähnlich gespaltenen Bild vom Bauern in positive Ständevertreter und satirische Vertreter 'grober' bäurischer Sitten. Bei den Landsknechtsdarstellungen kann man zwischen werbenden und propagandistischen Bildern heroischer Streiter für die kaiserliche Sache und kritisch-satirischen Darstellungen der sittlichen Verkommenheit der Soldateska und der sozial schädlichen Attraktivität des Söldnerwesens für arme Handwerker unterscheiden. Kapitel 5 ('The Battle of the Sexes and the World Upside Down') behandelt eine Reihe von Drucken, welche die Herrschaft des Mannes über die Frau und die Pflicht des Mannes, diese Herrschaft durchzusetzen, zum Gegenstand haben. Die Fülle solcher Drucke im Nürnberg der Reformationszeit und die Brutalität, die den Männern empfohlen wird, erlauben es nicht, hier bloß eine Fortsetzung mittelalterlicher Traditionen frauenfeindlicher Satire zu sehen. Moxey erkennt die Ursachen für die besondere Aktualität und Schärfe dieser Bilder in den demographischen und sozialen Verhältnissen Nürnbergs (Verdrängung der Frauen aus dem Erwerbsleben im Zuge verschärfter Konkurrenzbedingungen) und im Einfluß der lutherischen Ehelehre. Die Familie wird als Keimzelle des Staates aufgefaßt, die Sicherung familiärer Herrschaftsstrukturen gilt als Voraussetzung für das Funktionieren staatlicher Autorität und ist daher Christenpflicht. Dieser Beitrag ist eine wertvolle Ergänzung der Untersuchungen zur Ikonologie des bürgerlichen Familienlebens in reformierten Ländern des 16. und 17. Jahrhunderts, die sich bisher auf die Niederlande konzentriert hatten.3 Die abschließenden 'Conclusions' versuchen, aus diesen Ergebnissen eine präzisere Charakterisierung der medialen Qualitäten Nürnberger Holzschnitte zu gewinnen. Ihr 'schlichter Stil' oder 'Modus' folgt aus einer bewußten Reduzierung der formalen Mittel der Graphik und ermöglicht eine Unterordnung des Bildes unter den Text. Einblattdrucke und Flugblätter stehen den Inkunabelillustrationen nahe, bei denen die 'Lesbarkeit' des Bildes die dominierende Form von Anschaulichkeit ist. Mit Norman Bryson spricht Moxey von 'diskursiven' Bildern, die keinen Anspruch auf künstlerischen Eigenwert machen und deren Informationsgehalt einseitig auf den Text bezogen ist. Die Reduktionen der formalen Mittel, d.h. die Verkürzung der Information verlangt von Betrachter die Auffüllung mit Bedeutungen, die dem Text oder - in dessen Abwesenheit - 'Zeichensvstemen anderer Ordnung', z.B. Fastnachtspielen zu entnehmen sind. Eine charakteristische Sonderform ist die Rcihung von einzelnen, relativ gleichförmigen Bildern zu Serien, zu einer friesartigen Gesamtkomposition. Moxey erklärt dieses Prinzip mit der Vorbildhaftigkeit der Riesenholzschnitte für Kaiser Maxmilian I., in denen Redundanz als Mittel propagandistischer Wirkungssteigerung fungiert. Dies scheint mir zu kurz gegriffen, den gcrade in Nürnberg dürfte die literarische und dramatische Form des 'Reihenspiels' (die einzelnen Darsteller treten wie in einer Rev ue nacheinander vor und sprechen ihren Text) ein noch wiehtigerer Ausgangspunkt gewesen sein, zumal diese literarische Form auch in den Texten vieler Einblattdrucke angewendet wird, vor allem von Hans Sachs. Der 'schlichte Stil' oder Modus läßt viel mehr Abstufungen und Variationen zu, als Moxey's 'Conclusions' zu erkennen geben. In Holzschnitten wie Hans Sebald Behams 'Großes Bauernfest' liegt eine komplexe Darstellungsweise vor, die die Bezeichnung 'schlicht' kaum mehr verdient. Moxey's Unterscheidung in einen lesbaren Vordergrund und einen 'malerischen' Hintergrund ist unangemessen. Ich gebe zu bedenken, daß durch das Wirken Dürers dem Nürnberger Holzschnitt auch spezifisch künstlerische Maßstäbe eröffnet worden sind. Dürer schreibt in seiner 'seltzame red' ausdrücklich, 'das manicher etwas mit der federn in eine tag auff ein halben bogen papirs reyst oder mit seim eyrsellein etwas in ein klein hoeltzlein versticht, daz wuert kuenstlicher und besser dann eins ändern grosses werck.'4 Unter Dürers Einfluß hat der Nürnberger Holzschnitt sich die Möglichkeiten des perspektivisch organisierten Bildraumes erschlossen. Das bedeutet, daß neben das herkömmliche Anschaulichkeitprinzip der 'Lesbarkeit' von Motiven, die auf einer Bildebene aufgereiht sind, das neue Anschaulichkeitprinzip der Perspektivität tritt, die nach den Begriffen der humanistischen Kunstlehre dem rhetorischen Ideal der 'perspicuitas' entspricht. Auch wenn die Einblattholzschnitte nur zu einem Teil und sichtlich unentschieden von dieser neuen Bildform Gebrauch machen, so steht doch fest: der 'schlichte Stil' läßt Veränderungen und Entwicklungen zu, in denen Raum für spezifisch künstlerische Faktoren ist. Moxey's Verzicht auf spezifisch kunsthistorische Fragestellungen enthält die Gefahr einer Verengung des Blickwinkels. Auch seine Einschätzung der bloß dienenden Rolle des Bildes gegenüber dem Text erscheint differenzierungsbedürftig. Indem die knappen und reduzierten Angaben des Bildes den Betrachter dazu veranlassen, sie mit Textinformationen aufzufüllen und zu ergänzen, wächst dem Bild eine aktive Rolle zu: es organisiert und strukturiert die Lektüre des Texts. Im Einblattdruck 'Zwölf Eigenschaften eines boshaften und verruchten Weibes' (Moxey Abb.5.16) zählt der Text von Hans Sachs auf: Vernachlässigung von Haushalt und Kindern, Naschhaftigkeit, Verlogenheit, Putz-sucht, Stolz, Streitsucht, Ungehorsam, Gewalt gegen den Ehe-mann, Verweigerung der ehelichen Pflicht, Ehebruch und schließlich Verleumdung des Ehemannes bei Gericht. Erhard Schöns Holzschnitt zeigt in der Öffnung der beiden Häuser die Punkte I und 12 der Anklage, unordentlichen Haushalt und Verleumdung vor Gericht. Im Vordergrund ist der gewalttätige Streit dargestellt, der das Zerbrechen der ehelichen Gemeinschaft und der familiären Ordnung offenbar eindeutiger zeigt als etwa der Ehebruch. Das Bild illustriert folglich nicht nur, es interpretiert und akzentuiert. Diese aktive Rolle des Bildes gegenüber dem Text ist eine bedeutende Funktionserweiterung des illustrativen Holzschnitts, als deren Erfinder wohl Sebastian Brant zu gelten hat.5 Nach Moxey's Überzeugung 'artilculiert' das in den Nürnberger Holzschnitten entwichelte 'kulturelle Zeichensystem' Vorstellungcn von gesellschaftlichen Beziehungen und Wertmaßstäben, die zutiefst von Luthers Soziallehre geprägt sind und als Maßgaben eines göttlichen Gebotes unverrückbar festgeschrieben und verteidigt werden. Es war im Interesse des Patriziats, diese Stabilität bei allen Bevölkerungsschichten durchzusetzen, und dabei spielten die Einblattdrucke und Holzschnitte eine aktive, gestaltende Rolle. Trotz mancher Einwände im Einzelnen glaube ich, daß diese Deutung grundsätzliche Zustimmung verdient.

This paper is a comparative analysis of works by two contemporary artists: Gina Pane, an Italian, and Catherine Opie, an American. Both use performance and autobiography and raise the subject of lesbian identity. Moreover, both share themes of suffering, pain and relationships between women. They were active in various cultural contexts, however. Pane worked in Western Europe during the moral revolution of the 1960s and '70s. Opie has been active in American art from the beginning of the '90s and she has been participating in political changes from the AIDS crisis and the radical queer movement to the present day assimilation of the LGBTQ community. The tradition and symbolism associated with St. Sebastian serves as the historical background the for the analysis in this paper, as both artists used the iconography of this male homoerotic idol in their subversive depictions of femininity and sexual dissimilarity. The works of the two artists are subjected to a comparative interpretation considering various contexts, similarities and differences, and evaluated in terms of contemporary artistic and political challenges of queer culture.

„Diabetes und Adipositas – gemeinsam durch dick und dünn“ – so lautete das Motto des Adipositas-Kongresses 2021, der Anfang November in Kooperation mit der Deutschen Diabetes Gesellschaft (DDG) und unter Leitung von Prof. Dr. Sebastian Meyhöfer als Tagungspräsidenten in Wiesbaden stattfand. Zum ersten Mal wurden die Symposien, Praxisdialoge und Workshops in hybrider Form durchgeführt und es war ein voller Erfolg. Etwa 2.800 Teilnehmende waren vor Ort, weitere 1.400 online zugeschaltet und nutzten vielfach die Beteiligungsmöglichkeiten aus der Ferne. In den insgesamt 85 Veranstaltungen stand eine Vielzahl praxisorientierter Themen im Fokus, die dabei die breite inhaltliche Überschneidung der beiden Krankheiten Diabetes mellitus und der Adipositas aufzeigten. Schwerpunktthemen waren aktuelle Erkenntnisse der Ernährungsmedizin und der zentralnervösen Mechanismen der Gewichtsregulation, kultursensible Behandlung von Menschen mit Diabetes und Adipositas und psychosoziale Aspekte der beiden Krankheiten.

Orientation: Publishing methodologically sound, empirically based studies in reputable accredited scientific journals are essential in order to advance knowledge and evidence-based practice in the field of industrial and organisational psychology.Research purpose: The purpose of the research was to conduct a broad content analysis of the articles published in the South African Journal of Industrial Psychology (SAJIP) between 2004 and 2013. The study aimed to provide a descriptive overview of the most frequent content themes,published authors and institutions, research approaches, strategies, designs and analysis techniques, software packages and sample sizes in industrial and organisational (I-O) psychology utilised in the publications.Motivation for study: The periodic analyses of published content in scholarly journals provide an index of the extent to which the publications reflect the scope of practice in a given discipline and broaden insight into the direction and relevance of research published in a journal.Research design, approach and method: A broad systematic content analysis was conducted of 342 documented articles published in the SAJIP between 2004 and 2013. Descriptive data(frequencies and percentages) were used to report the findings.Main findings: The publishing pattern of the SAJIP appeared to correspond with its focus and scope. Manuscripts utilising mostly cross-sectional quantitative correlational research designs with large samples (n > 201) were published in the SAJIP. The University of Johannesburg and Professor Sebastiaan (Ian) Rothmann were the largest contributors to publications between 2004 and 2013. Organisational psychology and psychometrics were the most prominent domains in I-O psychology research. Data were predominantly processed utilising SPSS.Practical implications: The insights derived from the findings can be employed to plan future research initiatives in the field of I-O psychology.Contribution/value-add: The findings provide valuable insight into the current status of the foci of I-O psychology research as published in the SAJIP between 2004 and 2013 and the contribution made by the SAJIP to advancing knowledge and evidence-based practice in I-O psychology.

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The concept of “softening the news” or “tabloidization” refers to the adaption of tabloid standards by elite media, as a result of competitive pressures and with the aim of attracting the attention of the mass audience (e.g., Magin, 2019). Reinemann et al. (2012) distinguish three important dimensions: topic dimension: According to this dimension, “soft news” can be distinguished from “hard news” by their political relevance; one can either determine the level of political relevance (Reinemann et al., 2012) or – as most studies do (e.g., Steiner, 2016) – distinguish between topics that can be classified as either hard (e.g., politics) or soft (e.g., crime, sports, lifestyle). focus dimension: Soft news in this respect reports on issues in a rather episodic and less thematic way which means that the news coverage focuses more on the event itself instead of framing the event in a more general context (Iyengar, 1991; see also Entman, 1993). Furthermore, soft news rather focuses on individual rather than societal consequences. style dimension: According to this dimensions, soft news can be distinguished from hard news by the way of presentation. Soft news is presented inter alia in a more emotional, subjective or narrative way. News softening therefore represents a multi-dimensional concept (Esser, 1999; Reinemann et al., 2012) in which the different dimensions and indicators form a continuum. On this basis one can assess the degree of overall news softening. The concept thereby incorporates various other concepts of communication science (e.g., framing, subjective/objective reporting, etc.) that can thus be also attributed to distinct research traditions. Particularly in the style dimension, many different indicators are analysed – although the studies often differ as to which indicators are used. Field of application/theoretical foundation: Since soft news journalism is often seen as a threat to normative standards for quality media, the research on soft news and tabloidization trends is often part of studies on media performance. So far, studies on news softening and tabloidization focus on the comparison of (elite and popular) newspapers (e.g., Lefkowitz, 2018) or (public service and commercial) TV newscasts (e.g., Donsbach & Büttner, 2005). More recent studies also take online media into account (e.g., Karlsson, 2016) or compare social media platforms such as Facebook with offline and/or online media (e.g., Lischka & Werning, 2017; Magin et al., in press). References/combination with other methods of data collection: Content analyses can be combined with survey data from/ interviews with journalists (e.g., Leidenberger, 2015; Lischka & Werning, 2017; Lischka, 2018) or with experiments on the effect of soft news on the audience (e.g., trust in the news, information processing: see Bernhard, 2012 or Grabe et al., 2003 as examples, although these studies do not combine the results on the effects with content analyses). Example studies: Indicator Name of variable(s) Study Topic Dimension: Political relevance Political relevance Reinemann et al., 2012 topic Thema (kategorisiert) [topic (categorized)] Steiner, 2016 Focus Dimension: Episodic framing Episodic – thematic framing Reinemann et al., 2012 Individual framing Individual – societal relevance Reinemann et al., 2012 Style Dimension: 1. Emotional reporting (incl. affective wording, visual presentation of emotions) Emotional – unemotional reporting Reinemann et al., 2012 2. Personal reporting Personal – impersonal reporting Reinemann et al., 2012 3. Colloquial/ loose language Umgangssprache, Lockerheit der Sprache [colloquial, loose language] Steiner, 2016 4. Narrative presentation Nachrichtenpyramide vs. Narration [news pyramid vs. narration] Donsbach & Büttner, 2005 5. Emphasis on conflicts Konflikthaltigkeit [conflicts] Donsbach & Büttner, 2005 Topic Dimension With respect to the topic dimension, soft and hard news can be determined either by the extent to which the political relevance is made clear within the article (e.g., Reinemann et al., 2012) or by the distinction between topics (e.g., Steiner, 2016). Most studies use the latter option with politics (and sometimes economics as well) being considered hard news and topics such as sports and celebrity news being considered soft news. Topic Dimension, Indicator 1: political relevance (Reinemann et al., 2012) Information on Reinemann et al., 2012 Authors: Carsten Reinemann, James Stanyer, Sebastian Scherr, Guido Legnante Research question: This study is a meta-analysis that wants to find out 1) how different studies define news softening and 2) which dimensions and indicators are most often used to measure news softening. As a result, the paper suggests three important dimensions (topic, focus, style) and concrete indicators and operationalizations to measure these dimensions. Object of analysis: 24 studies Info about variable “Four aspects are distinguished that indicate the degree of political relevance of a news item: (1) societal actors, (2) decision-making authorities, (3) policy plan and (4) actors concerned. For each of those aspects the presence (1) or non-presence (0) is coded.” (Reinemann et al. 2012, p. 237) “Two or more societal actors that disagree on a societal issue (e.g., two parties, a party and an NGO, voters and politicians, employers and trade unions). Decision-making authorities (legislative, executive, judiciary) that are or could be involved in the generally binding decision about that societal issue. The substance of a planned or realized decision, measure, programme that relates to the issue. The persons or groups concerned by the planned or realized decisions, measures, programmes.” (Reinemann et al., 2012, p. 237) Variable name: political relevance Level of analysis: article Values: 0) not present; 1) present Level of measurement: nominal Reliability: Variable was not tested within this study. Codebook (in the appendix of the paper, p. 237-238) available under: DOI: 10.1177/1464884911427803 Topic Dimension, Indicator 2: topic (Steiner, 2016) Information on Steiner, 2016 Authors: Miriam Steiner Research question: The study investigates the news softening of German public service and commercial political news on TV and on Facebook. Object of analysis: ARD Tagesschau (TV); ZDF heute (TV); Sat.1 Nachrichten (TV); RTL Aktuell (TV); ARD Tagesschau (Facebook); ZDF heute (Facebook); Sat.1 Nachrichten (Facebook); RTL Aktuell (Facebook) Time frame of analysis: artificial week in 2014 (April, 10 – October, 10) Info about the variable Variable name: Thema (kategorisiert)/ Ressort [Topic (categorized)/ (newspaper) section] Level of analysis: article Values (in German): 101-247) Politik [politics]; 310-399) Wirtschaft [economics] ? defined as “hard news” 900) Unfall/Katastrophe [accident, catastrophe]; 1000-1010) Kriminalität [crime]; 1100) human interest; 1200) Sport [sports] ? defined as “soft news” Level of measurement: nominal Reliability: one coder; intra-coder-reliability: 0.81 (Krippendorff’s Alpha), 83.3% (Holsti) Codebook attached (in German) Focus Dimension According to this dimension, hard and soft news can be distinguished by the framing of the article. Reinemann et al. (2012) hereby differentiate between 1) episodic (soft) vs. thematic (hard) framing and 2) individual (soft) vs. societal (hard) framing. Focus Dimension, Indicator 1: episodic vs. thematic framing (Reinemann et al., 2012: for information about the study, see above) “Here, the focus of a news item as related to the accentuation of episodes or themes is coded. Episodically focused news items present an issue by offering a specific example, case study, or event oriented report, e.g., covering unemployment by presenting a story on the plight of a particular unemployed person […]” (Reinemann et al. 2012, p. 238) Variable name: episodic – thematic framing Level of analysis: article Values: 0) pure or predominant episodic framing; 1) mixed episodic and thematic framing; 2) pure or predominant thematic framing Level of measurement: ordinal Reliability: Variable was not tested within this study. Codebook (in the appendix of the paper, p. 237-238) available under: DOI: 10.1177/1464884911427803 Focus Dimension, Indicator 2: individual vs. societal framing (Reinemann et al., 2012: for information about the study, see above) “Here, the focus of a news item as related to the accentuation of personal or societal relevance is coded. Individually focused news stress [sic!] the personal, private meaning or consequences of the incidents, developments, decisions etc. reported about for members of society. […]” (Reinemann et al. 2012, p. 237) Variable name: individual – societal relevance Level of analysis: article Values: 0) pure or predominant focus on individual relevance/ consequences; 1) mixed attention to individual and societal relevance/ consequences; 2) pure or predominant focus on societal relevance/ consequences Level of measurement: ordinal Reliability: Variable was not tested within this study. Codebook (in the appendix of the paper, p. 237-238) available under: DOI: 10.1177/1464884911427803 Style Dimension This dimension is about how news is presented. Studies thereon analyse different indicators with 1) emotional reporting being most frequently used. Besides, studies refer to 2) personal reporting (i.e., the presence of the journalist’s point of view), colloquial/ loose language, 3) narrative presentation or 4) emphasis on conflicts as indicators of a soft news style. Style Dimension, Indicator 1: emotional reporting Most studies measure emotional reporting with the help of only one variable (usually a multi-level scale) (e.g., Reinemann et al., 2012). Alternatively, one can further distinguish (Magin & Stark, 2015) between verbal style (linguistic features such as strong adjectives and superlatives or emotional metaphors) and visual style (showing emotions in pictures) (e.g., Leidenberger, 2015). Style Dimension, Indicator 1: emotional reporting (Reinemann et al., 2012: for information about the study, see above) “Here, the journalistic style of a news item as related to the emotional presentation of information is coded. […] Emotional news items use verbal, visual or auditive means that potentially arouse or amplify emotions among audience members. This can be done, for example, (a) by dramatizing events, i.e. presenting them as exceptional, exciting, or thrilling; (b) by affective wording and speech, e.g. superlatives, strong adjectives, present tense in the description of past events, pronounced accentuation; (c) by reporting on or visually presenting explicit expressions of emotions (e.g., hurt, anger, fear, distress, joy) […]” (Reinemann et al. 2012, p. 238) Variable name: emotional – unemotional reporting Level of analysis: article Values: 0) purely or predominantly emotional; 1) mix of emotional and unemotional elements; 2) purely or predominantly unemotional Level of measurement: ordinal Reliability: Variable was not tested within this study. Codebook (in the appendix of the paper, p. 237-238) available under: DOI: 10.1177/1464884911427803 Style Dimension, Indicator 2: personal reporting (Reinemann et al., 2012: for information about the study, see above) “Here, the journalistic style of a news item as related to the explicit appearance of journalists’ personal points of view is concerned. It is coded whether a news item includes explicit statements of the reporting [sic!] journalists’ personal impressions, interpretations, points of view or opinions. […]” (Reinemann et al. 2012, p. 238) Variable name: personal – impersonal reporting Level of analysis: article Values: 0) purely or predominantly personal; 1) mix of personal and impersonal elements; 2) purely or predominantly impersonal Level of measurement: ordinal Reliability: Variable was not tested within this study. Codebook (in the appendix of the paper, p. 237-238) available under: DOI: 10.1177/1464884911427803 Style Dimension, Indicator 3: colloquial/ loose language (Steiner, 2016: for information about the study, see above) The variable measures the degree of colloquial language on a 3-point-scale, ranging from 0 (not colloquial at all) to 2 (very colloquial). Variable name: Umgangssprache/ Lockerheit der Sprache [colloquial/ loose language] Level of analysis: article Values: 0) gar nicht umgangssprachlich; 1) wenig umgangssprachlich; 2) stark umgangssprachlich Level of measurement: ordinal Reliability: one coder; intra-coder-reliability: 0.72 (Krippendorff’s Alpha), 88.9% (Holsti, nominal) Codebook attached (in German) Style Dimension, Indicator 4: narrative presentation (Donsbach & Büttner, 2005) Information on Donsbach & Büttner, 2005 Author: Wolfang Donsbach, Katrin Büttner Research question/ Research interest: The study examines the presentation of political news coverage in the most important public service and commercial main German newscasts in 1983, 1990 and 1998 with the aim of revealing changes in the presentation of politics and the extent to which there are convergent trends (? tabloidization). Object of analysis: news on national politics within four German newscasts: 1) Tagesschau (ARD), ZDF heute, Sat.1 Blick/18.30, RTL Aktuell (in 1983: only Tagesschau and ZDF heute) Time frame of analysis: for each year, every second day within the last four weeks before election day was analysed: 1) February 7, 1983 to March 6, 1983 (March 6, 1983 = election day); November 5, 1990 to December 2, 1990 (December 2, 1990 = election day); August 31, 1998 to September 27, 1998 (September 27, 1998 = election day) Info about variable: news pyramid vs. narration This variable is used to measure whether news is presented in terms of the “inverted news pyramid” (that is, answering the important W-questions at the beginning) or whether the journalist tells a story. This variable is measured on a 5-point-scale ranging from -2) (news pyramid) to 2) narration. Variable names: Nachrichtenpyramide vs. Narration [news pyramid vs. narration] Level of analysis: article Values: -2) Nachrichtenpyramide; -1); 0) neither/nor; 1); 2) narration Level of measurement: ordinal Reliability: four coders, reliability: N.A. Codebook (in German) available under: http://donsbach.net/wp-content/uploads/2011/12/Codebuch_TV-Nachrichten.pdf Style Dimension, Indicator 5: emphasis on conflicts (Donsbach & Büttner, 2005: for information about the study, see above) The variable measures whether conflicts are mentioned or not (=9). The variable also distinguishes between implicit (=1; conflict is apparent, but not openly addressed) and explicit (=2; conflict is openly addressed) conflicts. Variable names: Konflikthaltigkeit [conflicts] Level of analysis: article Values: 1) impliziter Konflikt; 2) expliziter Konflikt; 9) kein Konflikt Level of measurement: nominal Reliability: four coders, reliability: N.A. 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Introduction It is now commonplace for babies to begin their lives inhabiting media environments characterised by the presence, distribution, and mobility of digital devices and screens. Such arrangements can be traced, in part, to the birth of a new regime of mobile and touchscreen media beginning with the release of the iPhone in 2007 and the iPad in 2010, which stimulated a surge in household media consumption, underpinned by broadband and wireless Internet infrastructures. Research into these conditions of ambient mediation at the beginnings of life, however, is currently dominated by medical and educational literature, largely removed from media studies approaches that seek to understand the everyday contexts of babies using media. Putting aside discourses of promise or peril familiar to researchers of children’s media (Buckingham; Postman), this paper draws on ongoing research in both domestic and social media settings exploring infants’ everyday encounters and entanglements with mobile media and communication technologies. The paper identifies the ways infants’ mobile communication is assembled and distributed through touchscreen interfaces, proxy parent users, and commercial software sorting. It argues that within these interfacial, intermediary, and interactive contexts, we can conceptualise infants’ communicative agency through an emerging repertoire of techniques: accidental, assisted and automated. This assemblage of infant communication recognises that children no longer live with but in media (Deuze), which underscores the impossibility of a path of media resistance found in medical discourses of ‘exposure’ and restriction, and instead points to the need for critical and ethical responses to these immanent conditions of infant media life. Background and Approach Infants, understandably, have largely been excluded from analyses of mobile mediality given their historically limited engagement with or capacity to use mobile media. Yet, this situation is undergoing change as mobile devices become increasingly prominent in children’s homes (OfCom; Rideout), and as touchscreen interfaces lower thresholds of usability (Buckleitner; Hourcade et al.). The dominant frameworks within research addressing infants and media continue to resonate with long running and widely circulated debates in the study of children and mass media (Wartella and Robb), responding in contradictory ways to what is seen as an ever-increasing ‘technologization of childhood’ (McPake, Plowman and Stephen). Education research centres on digital literacy, emphasising the potential of mobile computing for these future digital learners, labourers, and citizens (McPake, Plowman and Stephen). Alternatively, health research largely positions mobile media within the rubric of ‘screen time’ inherited from older broadcast models, with paediatric groups continuing to caution parents about the dangers of infants’ ‘exposure’ to electronic screens (Strasburger and Hogan), without differentiating between screen types or activities. In turn, a range of digital media channels seek to propel or profit from infant media culture, with a number of review sites, YouTube channels and tech blogs promoting or surveying the latest gadgets and apps for babies. Within media studies, research is beginning to analyse the practices, conceptions and implications of digital interfaces and content for younger children. Studies are, for example, quantifying the devices, activities, and time spent by young children with mobile devices (Ofcom; Rideout), reviewing the design and marketing of children’s mobile application software products (e.g. Shuler), analysing digital content shared about babies on social media platforms (Kumar & Schoenebeck; Morris), and exploring emerging interactive spaces and technologies shaping young children’s ‘postdigital’ play (Giddings; Jayemanne, Nansen and Apperley). This paper extends this growing area of research by focusing specifically on infants’ early encounters, contexts, and configurations of mobile mediality, offering some preliminary analysis of an emerging repertoire of mobile communication techniques: accidental, assisted, and automated. That is, through infants playing with devices and accidentally activating them; through others such as parents assisting use; and through software features in applications that help to automate interaction. This analysis draws from an ongoing research project exploring young children’s mobile and interactive media use in domestic settings, which is employing ethnographic techniques including household technology tours and interviews, as well as participant observation and demonstrations of infant media interaction. To date 19 families, with 31 children aged between 0 and 5, located in Melbourne, Australia have participated. These participating families are largely homogeneous and privileged; though are a sample of relatively early and heavy adopters that reveal emerging qualities about young children’s changing media environments and encounters. This approach builds on established traditions of media and ethnographic research on technology consumption and use within domestic spaces (e.g. Mackay and Ivey; Silverstone and Hirsch), but turns to the digital media encountered by infants, the geographies and routines of these encounters, and how families mediate these encounters within the contexts of home life. This paper offers some preliminary findings from this research, drawing mostly from discussions with parents about their babies’ use of digital, mobile, and touchscreen media. In this larger project, the domestic and family research is accompanied by the collection of online data focused on the cultural context of, and content shared about, infants’ mobile media use. In this paper I report on social media analysis of publicly shared images tagged with #babyselfie queried from Instagram’s API. I viewed all publicly shared images on Instagram tagged with #babyselfie, and collected the associated captions, comments, hashtags, and metadata, over a period of 48 hours in October 2014, resulting in a dataset of 324 posts. Clearly, using this data for research purposes raises ethical issues about privacy and consent given the posts are being used in an unintended context from which they were originally shared; something that is further complicated by the research focus on young children. These issues, in which the ease of extracting online data using digital methods research (Rogers), needs to be both minimised and balanced against the value of the research aims and outcomes (Highfield and Leaver). To minimise risks, captions and comments cited in this paper have been de-identified; whist the value of this data lies in complementing and contextualising the more ethnographically informed research, despite perceptions of incompatibility, through analysis of the wider cultural and mediated networks in which babies’ digital lives are now shared and represented. This field of cultural production also includes analysis of examples of children’s software products from mobile app stores that support baby image capture and sharing, and in particular in this paper discussion of the My Baby Selfie app from the iTunes App Store and the Baby Selfie app from the Google Play store. The rationale for drawing on these multiple sources of data within the larger project is to locate young children’s digital entanglements within the diverse places, platforms and politics in which they unfold. This research scope is limited by the constraints of this short paper, however different sources of data are drawn upon here in order to identify, compare, and contextualise the emerging themes of accidental, assisted, and automated. Accidental Media Use The domestication and aggregation of mobile media in the home, principally laptops, mobile phones and tablet computers has established polymediated environments in which infants are increasingly surrounded by mobile media; in which they often observe their parents using mobile devices; and in which the flashing of screens unsurprisingly draws their attention. Living within these ambient media environments, then, infants often observe, find and reach for mobile devices: on the iPad or whatever, then what's actually happening in front of them, then naturally they'll gravitate towards it. These media encounters are animated by touchscreens interfaces that are responsive to the gestural actions of infants. Conversely, touchscreen interfaces drive attempts to swipe legacy media screens. Underscoring the nomenclature of ‘natural user interfaces’ within the design and manufacturer communities, screens lighting up through touch prompts interest, interaction, and even habituation through gestural interaction, especially swiping: It's funny because when she was younger she would go up the T.V. and she would try swiping to turn the channel.They can grab it and start playing with it. It just shows that it's so much part of their world … to swipe something. Despite demonstrable capacities of infants to interact with mobile screens, discussions with parents revealed that accidental forms of media engagement were a more regular consequence of these ambient contexts, interfacial affordances and early encounters with mobile media. It was not uncommon for infants to accidentally swipe and activate applications, to temporarily lock the screen, or even to dial contacts: He didn't know the password, and he just kept locking it … find it disabled for 15 minutes.If I've got that on YouTube, they can quite quickly get on to some you know [video] … by pressing … and they don't do it on purpose, they're just pushing random buttons.He does Skype calls! I think he recognizes their image, the icon. Then just taps it and … Similarly, in the analysis of publicly shared images on Instagram tagged with #babyselfie, there were instances in which it appeared infants had accidentally taken photos with the cameraphone based on the image content, photo framing or descriptions in the caption. Many of these photos showed a baby with an arm in view reaching towards the phone in a classic trope of a selfie image; others were poorly framed shots showing parts of baby faces too close to the camera lens suggesting they accidentally took the photograph; whilst most definitive was many instances in which the caption of the image posted by parents directly attributed the photographic production to an infant: Isabella's first #babyselfie She actually pushed the button herself! My little man loves taking selfies lol Whilst, then, the research identified many instances in which infants accidentally engaged in mobile media use, sometimes managing to communicate with an unsuspecting interlocutor, it is important to acknowledge such encounters could not have emerged without the enabling infrastructure of ambient media contexts and touchscreen interfaces, nor observed without studying this infrastructure utilising materially-oriented ethnographic perspectives (Star). Significantly, too, was the intermediary role played by parents. With parents acting as intermediaries in household environments or as proxy users in posting content on their behalf, multiple forms of assisted infant communication were identified. Assisted Media Use Assisted communication emerged from discussions with parents about the ways, routines, and rationale for making mobile media available to their children. These sometimes revolved around keeping their child engaged whilst they were travelling as a family – part of what has been described as the pass-back effect – but were more frequently discussed in terms of sharing and showing digital content, especially family photographs, and in facilitating infant mediated communication with relatives abroad: they love scrolling through my photos on my iPhone …We quite often just have them [on Skype] … have the computers in there while we're having dinner … the laptop will be there, opened up at one end of the table with the family here and there will be my sister having breakfast with her family in Ireland … These forms of parental mediated communication did not, however, simply situate or construct infants as passive recipients of their parents’ desires to make media content available or their efforts to establish communication with extended family members. Instead, the research revealed that infants were often active participants in these processes, pushing for access to devices, digital content, and mediated communication. These distributed relations of agency were expressed through infants verbal requests and gestural urging; through the ways parents initiated use by, for example, unlocking a device, preparing software, or loading an application, but then handed them over to infants to play, explore or communicate; and through wider networks of relations in which others including siblings, acted as proxies or had a say in the kinds of media infants used: she can do it, once I've unlocked … even, even with iView, once I'm on iView she can pick her own show and then go to the channel she wants to go to.We had my son’s birthday and there were some photos, some footage of us singing happy birthday and the little one just wants to watch it over and over again. She thinks it's fantastic watching herself.He [sibling] becomes like a proxy user … with the second one … they don't even need the agency because of their sibling. Similarly, the assisted communication emerging from the analysis of #babyselfie images on Instagram revealed that parents were not simply determining infant media use, but often acting as proxies on their behalf. #Selfie obsessed baby. Seriously though. He won't stop. Insists on pressing the button and everything. He sees my phone and points and says "Pic? Pic?" I've created a monster lol. In sharing this digital content on social networks, parents were acting as intermediaries in the communication of their children’s digital images. Clearly they were determining the platforms and networks where these images were published online, yet the production of these images was more uncertain, with accidental self-portraits taken by infants suggesting they played a key role in the circuits of digital photography distribution (van Dijck). Automated Media Use The production, archiving, circulation and reception of these images speaks to larger assemblages of media in which software protocols and algorithms are increasingly embedded in and help to configure everyday life (e.g. Chun; Gillespie), including young children’s media lives (Ito). Here, software automates process of sorting and shaping information, and in doing so both empowers and governs forms of infant media conduct. The final theme emerging from the research, then, is the identification of automated forms of infant mobile media use enabled through software applications and algorithmic operations. Automated techniques of interaction emerged as part of the repertoire of infant mobile mediality and communication through observations and discussions during the family research, and through surveying commercial software applications. Within family discussions, parents spoke about the ways digital databases and applications facilitated infant exploration and navigation. These included photo galleries stored on mobile devices, as well as children’s Internet television services such as the Australian Broadcasting Corporation’s catch-up online TV service, iView, which are visually organised and easily scrollable. In addition, algorithmic functions for sorting, recommending and autoplay on the video-sharing platform YouTube meant that infants were often automatically delivered an ongoing stream of content: They just keep watching it [YouTube]. So it leads on form the other thing. Which is pretty amazing, that's pretty interactive.Yeah, but the kids like, like if they've watched a YouTube clip now, they'll know to look down the next column to see what they want to play next … you get suggestions there so. Forms of automated communication specifically addressing infants was also located in examples of children’s software products from mobile app stores: the My Baby Selfie app from the iTunes App Store and the Baby Selfie app from the Google Play store. These applications are designed to support baby image capture and sharing, promising to “allow your baby to take a photo of him himself [sic]” (Giudicelli), based on automated software features that use sounds and images to capture a babies attention and touch sensors to activate image capture and storage. In one sense, these applications may appear to empower infants to participate in the production of digital content, namely selfies, yet they also clearly distribute this agency with and through mobile media and digital software. Moreover, they imply forms of conduct, expectations and imperatives around the possibilities of infant presence in a participatory digital culture. Immanent Ethic and Critique Digital participation typically assumes a degree of individual agency in deciding what to share, post, or communicate that is not typically available to infants. The emerging communicative practices of infants detailed above suggests that infants are increasingly connecting, however this communicative agency is distributed amongst a network of ambient devices, user-friendly interfaces, proxy users, and software sorting. Such distributions reflect conditions Deuze has noted, that we do not live with but in media. He argues this ubiquity, habituation, and embodiment of media and communication technologies pervade and constitute our lives becoming effectively invisible, negating the possibility of an outside from which resistance can be mounted. Whilst, resistance remains a solution promoted in medical discourses and paediatric advice proposing no ‘screen time’ for children aged below two (Strasburger and Hogan), Deuze’s thesis suggests this is ontologically futile and instead we should strive for a more immanent relation that seeks to modulate choices and actions from within our media life: finding “creative ways to wield the awesome communication power of media both ethically and aesthetically” ("Unseen" 367). An immanent ethics and a critical aesthetics of infant mediated life can be located in examples of cultural production and everyday parental practice addressing the arrangements of infant mobile media and communication discussed above. For example, an article in the Guardian, ‘Toddlers pose a serious risk to smartphones and tablets’ parodies moral panics around children’s exposure to media by noting that media devices are at greater risk of physical damage from children handling them, whilst a design project from the Eindhoven Academy – called New Born Fame – built from soft toys shaped like social media logos, motion and touch sensors that activate image capture (much like babyselfie apps), but with automated social media sharing, critically interrogates the ways infants are increasingly bound-up with the networked and algorithmic regimes of our computational culture. Finally, parents in this research revealed that they carefully considered the ethics of media in their children’s lives by organising everyday media practices that balanced dwelling with new, old, and non media forms, and by curating their digitally mediated interactions and archives with an awareness they were custodians of their children’s digital memories (Garde-Hansen et al.). I suggest these examples work from an immanent ethical and critical position in order to make visible and operate from within the conditions of infant media life. Rather than seeking to deny or avoid the diversity of encounters infants have with and through mobile media in their everyday lives, this analysis has explored the ways infants are increasingly configured as users of mobile media and communication technologies, identifying an emerging repertoire of infant mobile communication techniques. The emerging practices of infant mobile communication outlined here are intertwined with contemporary household media environments, and assembled through accidental, assisted, and automated relations of living with mobile media. Moreover, such entanglements of use are both represented and discursively reconfigured through multiple channels, contexts, and networks of public mediation. Together, these diverse contexts and forms of conduct have implications for both studying and understanding the ways babies are emerging as active participants and interpellated subjects within a continually expanding digital culture. Acknowledgments This research was supported with funding from the Australian Research Council (ARC) Discovery Early Career Researcher Award (DE130100735). I would like to express my appreciation to the children and families involved in this study for their generous contribution of time and experiences. References Buckingham, David. 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Unlike some current discourse on automediality, this essay eschews most of the analysis concerning the adoption or modification of avatars to deliberately enhance, extend or distort the self. Rather than the automedial enabling of alternative, virtual selves modified by playful, confronting or disarming avatars we concentrate instead on emerging efforts to present the self in hyper-realist, interactive modes. In doing so we ask, what is the relationship between traumatic forms of automediation and the affective impact on and response of the audience? We argue that, while on the one hand there are promising avenues for valuable individual and social engagements with traumatic forms of automediation, there is an overwhelming predominance of suffering as a theme in such virtual depictions, comingled with uncritically asserted promises of empathy, which are problematic as the technology assumes greater mainstream uptake.As Smith and Watson note, embodiment is always a “translation” where the body is “dematerialized” in virtual representation (“Virtually” 78). Past scholarship has analysed the capacity of immersive realms, such as Second Life or online games, to highlight how users can modify their avatars in often spectacular, non-human forms. Critics of this mode of automediality note that users can adopt virtually any persona they like (racial, religious, gendered and sexual, human, animal or hybrid, and of any age), behaving as “identity tourists” while occupying virtual space or inhabiting online communities (Nakamura). Furthermore, recent work by Jaron Lanier, a key figure from the 1980s period of early Virtual Reality (VR) technology, has also explored so-called “homuncular flexibility” which describes the capacity for humans to seemingly adapt automatically to the control mechanisms of an avatar with multiple legs, other non-human appendages, or for two users to work in tandem to control a single avatar (Won et. al.). But this article is concerned less with these single or multi-player online environments and the associated concerns over modifying interactive identities. We are principally interested in other automedial modes where the “auto” of autobiography is automated via Artificial Intelligences (AIs) to convincingly mimic human discourse as narrated life-histories.We draw from case studies promoted by the 2017 season of ABC television’s flagship science program, Catalyst, which opened with semi-regular host and biological engineer Dr Jordan Nguyen, proclaiming in earnest, almost religious fervour: “I want to do something that has long been a dream. I want to create a copy of a human. An avatar. And it will have a life of its own in virtual reality.” As the camera followed Nguyen’s rapid pacing across real space he extolled: “Virtual reality, virtual human, they push the limits of the imagination and help us explore the impossible […] I want to create a virtual copy of a person. A digital addition to the family, using technology we have now.”The troubling implications of such rhetoric were stark and the next third of the program did little to allay such techno-scientific misgivings. Directed and produced by David Symonds, with Nguyen credited as co-developer and presenter, the episode “Meet the Avatars” immediately introduced scenarios where “volunteers” entered a pop-up inner city virtual lab, to experience VR for the first time. The volunteers were shown on screen subjected to a range of experimental VR environments designed to elicit fear and/or adverse and disorienting responses such as vertigo, while the presenter and researchers from Sydney University constantly smirked and laughed at their participants’ discomfort. We can only wonder what the ethics process was for both the ABC and university researchers involved in these broadcast experiments. There is little doubt that the participant/s experienced discomfort, if not distress, and that was televised to a national audience. Presenter Nguyen was also shown misleading volunteers on their way to the VR lab, when one asked “You’re not going to chuck us out of a virtual plane are you?” to which Nguyen replied “I don't know what we’re going to do yet,” when it was next shown that they immediately underwent pre-programmed VR exposure scenarios, including a fear of falling exercise from atop a city skyscraper.The sweat-inducing and heart rate-racing exposures to virtual plank walks high above a cityscape, or seeing subjects haptically viewing spiders crawl across their outstretched virtual hands, all elicited predictable responses, showcased as carnivalesque entertainment for the viewing audience. As we will see, this kind of trivialising of a virtual environment’s capacity for immersion belies the serious use of the technology in a range of treatments for posttraumatic stress disorder (see Rizzo and Koenig; Rothbaum, Rizzo and Difede).Figure 1: Nguyen and researchers enjoying themselves as their volunteers undergo VR exposure Defining AutomedialityIn their pioneering 2008 work, Automedialität: Subjektkonstitution in Schrift, Bild und neuen Medien, Jörg Dünne and Christian Moser coined the term “automediality” to problematise the production, application and distribution of autobiographic modes across various media and genres—from literary texts to audiovisual media and from traditional expression to inter/transmedia and remediated formats. The concept of automediality was deployed to counter the conventional critical exclusion of analysis of the materiality/technology used for an autobiographical purpose (Gernalzick). Dünne and Moser proffered a concept of automediality that rejects the binary division of (a) self-expression determining the mediated form or (b) (self)subjectivity being solely produced through the mediating technology. Hence, automediality has been traditionally applied to literary constructs such as autobiography and life-writing, but is now expanding into the digital domain and other “paratextual sites” (Maguire).As Nadja Gernalzick suggests, automediality should “encourage and demand not only a systematics and taxonomy of the constitution of the self in respectively genre-specific ways, but particularly also in medium-specific ways” (227). Emma Maguire has offered a succinct working definition that builds on this requirement to signal the automedial universally, noting it operates asa way of studying auto/biographical texts (of a variety of forms) that take into account how the effects of media shape the kinds of selves that can be represented, and which understands the self not as a preexisting subject that might be distilled into story form but as an entity that is brought into being through the processes of mediation.Sidonie Smith and Julia Watson point to automediality as a methodology, and in doing so emphasize how the telling or mediation of a life actually shapes the kind of story that can be told autobiographically. They state “media cannot simply be conceptualized as ‘tools’ for presenting a preexisting, essential self […] Media technologies do not just transparently present the self. They constitute and expand it” (Smith and Watson “Virtually Me” 77).This distinction is vital for understanding how automediality might be applied to self-expression in virtual domains, including the holographic avatar dreams of Nguyen throughout Catalyst. Although addressing this distinction in relation to online websites, following P. David Marshall’s description of “the proliferation of the public self”, Maguire notes:The same integration of digital spaces and platforms into daily life that is prompting the development of new tools in autobiography studies […] has also given rise to the field of persona studies, which addresses the ways in which individuals engage in practices of self-presentation in order to form commoditised identities that circulate in affective communities.For Maguire, these automedial works operate textually “to construct the authorial self or persona”.An extension to this digital, authorial construction is apparent in the exponential uptake of screen mediated prosumer generated content, whether online or theatrical (Miller). According to Gernalzick, unlike fictional drama films, screen autobiographies more directly enable “experiential temporalities”. Based on Mary Anne Doane’s promotion of the “indexicality” of film/screen representations to connote the real, Gernalzick suggests that despite semiotic theories of the index problematising realism as an index as representation, the film medium is still commonly comprehended as the “imprint of time itself”:Film and the spectator of film are said to be in a continuous present. Because the viewer is aware, however, that the images experienced in or even as presence have been made in the past, the temporality of the so-called filmic present is always ambiguous” (230).When expressed as indexical, automedial works, the intrinsic audio-visual capacities of film and video (as media) far surpass the temporal limitations of print and writing (Gernalzick, 228). One extreme example can be found in an emergent trend of “performance crime” murder and torture videos live-streamed or broadcast after the fact using mobile phone cameras and FaceBook (Bender). In essence, the political economy of the automedial ecology is important to understand in the overall context of self expression and the governance of content exhibition, access, distribution and—where relevant—interaction.So what are the implications for automedial works that employ virtual interfaces and how does this evolving medium inform both the expressive autobiographical mode and audiences subjectivities?Case StudyThe Catalyst program described above strove to shed new light on the potential for emerging technology to capture and create virtual avatars from living participants who (self-)generate autobiographical narratives interactively. Once past the initial gee-wiz journalistic evangelism of VR, the episode turned towards host Nguyen’s stated goal—using contemporary technology to create an autonomous virtual human clone. Nguyen laments that if he could create only one such avatar, his primary choice would be that of his grandfather who died when Nguyen was two years old—a desire rendered impossible. The awkward humour of the plank walk scenario sequence soon gives way as the enthusiastic Nguyen is surprised by his family’s discomfort with the idea of digitally recreating his grandfather.Nguyen next visits a Southern California digital media lab to experience the process by which 3D virtual human avatars are created. Inside a domed array of lights and cameras, in less than one second a life-size 3D avatar is recorded via 6,000 LEDs illuminating his face in 20 different combinations, with eight cameras capturing the exposures from multiple angles, all in ultra high definition. Called the Light Stage (Debevec), it is the same technology used to create a life size, virtual holocaust survivor, Pinchas Gutter (Ziv).We see Nguyen encountering a life-size, high-resolution 2D screen version of Gutter’s avatar. Standing before a microphone, Nguyen asks a series of questions about Gutter’s wartime experiences and life in the concentration camps. The responses are naturalistic and authentic, as are the pauses between questions. The high definition 4K screen is photo-realist but much more convincing in-situ (as an artifact of the Catalyst video camera recording, in some close-ups horizontal lines of transmission appear). According to the project’s curator, David Traum, the real Pinchas Gutter was recorded in 3D as a virtual holograph. He spent 25 hours providing 1,600 responses to a broad range of questions that the curator maintained covered “a lot of what people want to say” (Catalyst).Figure 2: The Museum of Jewish Heritage in Manhattan presented an installation of New Dimensions in Testimony, featuring Pinchas Gutter and Eva SchlossIt is here that the intersection between VR and auto/biography hybridise in complex and potentially difficult ways. It is where the concept of automediality may offer insight into this rapidly emerging phenomenon of creating interactive, hyperreal versions of our selves using VR. These hyperreal VR personae can be questioned and respond in real-time, where interrogators interact either as casual conversers or determined interrogators.The impact on visitors is sobering and palpable. As Nguyen relates at the end of his session, “I just want to give him a hug”. The demonstrable capacity for this avatar to engender a high degree of empathy from its automedial testimony is clear, although as we indicate below, it could simply indicate increased levels of emotion.Regardless, an ongoing concern amongst witnesses, scholars and cultural curators of memorials and museums dedicated to preserving the history of mass violence, and its associated trauma, is that once the lived experience and testimony of survivors passes with that generation the impact of the testimony diminishes (Broderick). New media modes of preserving and promulgating such knowledge in perpetuity are certainly worthy of embracing. As Stephen Smith, the executive director of the USC Shoah Foundation suggests, the technology could extendto people who have survived cancer or catastrophic hurricanes […] from the experiences of soldiers with post-traumatic stress disorder or survivors of sexual abuse, to those of presidents or great teachers. Imagine if a slave could have told her story to her grandchildren? (Ziv)Yet questions remain as to the veracity of these recorded personae. The avatars are created according to a specific agenda and the autobiographical content controlled for explicit editorial purposes. It is unclear what and why material has been excluded. If, for example, during the recorded questioning, the virtual holocaust survivor became mute at recollecting a traumatic memory, cried or sobbed uncontrollably—all natural, understandable and authentic responses given the nature of the testimony—should these genuine and spontaneous emotions be included along with various behavioural ticks such as scratching, shifting about in the seat and other naturalistic movements, to engender a more profound realism?The generation of the photorealist, mimetic avatar—remaining as an interactive persona long after the corporeal, authorial being is gone—reinforces Baudrillard’s concept of simulacra, where a clone exists devoid of its original entity and unable to challenge its automedial discourse. And what if some unscrupulous hacker managed to corrupt and subvert Gutter’s AI so that it responded antithetically to its purpose, by denying the holocaust ever happened? The ethical dilemmas of such a paradigm were explored in the dystopian 2013 film, The Congress, where Robyn Wright plays herself (and her avatar), as an out of work actor who sells off the rights to her digital self. A movie studio exploits her screen persona in perpetuity, enabling audiences to “become” and inhabit her avatar in virtual space while she is limited in the real world from undertaking certain actions due to copyright infringement. The inability of Wright to control her mimetic avatar’s discourse or action means the assumed automedial agency of her virtual self as an immortal, interactive being remains ontologically perplexing.Figure 3: Robyn Wright undergoing a full body photogrammetry to create her VR avatar in The Congress (2013)The various virtual exposures/experiences paraded throughout Catalyst’s “Meet the Avatars” paradoxically recorded and broadcast a range of troubling emotional responses to such immersion. Many participant responses suggest great caution and sensitivity be undertaken before plunging headlong into the new gold rush mentality of virtual reality, augmented reality, and AI affordances. Catalyst depicted their program subjects often responding in discomfort and distress, with some visibly overwhelmed by their encounters and left crying. There is some irony that presenter Ngyuen was himself relying on the conventions of 2D linear television journalism throughout, adopting face-to-camera address in (unconscious) automedial style to excitedly promote the assumed socio-cultural boon such automedial VR avatars will generate.Challenging AuthenticityThere are numerous ethical considerations surrounding the potential for AIs to expand beyond automedial (self-)expression towards photorealist avatars interacting outside of their pre-recorded content. When such systems evolve it may be neigh impossible to discern on screen whether the person you are conversing with is authentic or an indistinguishable, virtual doppelganger. In the future, a variant on the Turning Test may be needed to challenge and identify such hyperreal simulacra. We may be witnessing the precursor to such a dilemma playing out in the arena of audio-only podcasts, with some public intellectuals such as Sam Harris already discussing the legal and ethical problems from technology that can create audio from typed text that convincingly replicate the actual voice of a person by sampling approximately 30 minutes of their original speech (Harris). Such audio manipulation technology will soon be available to anybody with the motivation and relatively minor level of technological ability in order to assume an identity and masquerade as automediated dialogue. However, for the moment, the ability to convincingly alter a real-time computer generated video image of a person remains at the level of scientific innovation.Also of significance is the extent to which the audience reactions to such automediated expressions are indeed empathetic or simply part of the broader range of affective responses that also include direct sympathy as well as emotions such as admiration, surprise, pity, disgust and contempt (see Plantinga). There remains much rhetorical hype surrounding VR as the “ultimate empathy machine” (Milk). Yet the current use of the term “empathy” in VR, AI and automedial forms of communication seems to be principally focused on the capacity for the user-viewer to ameliorate negatively perceived emotions and experiences, whether traumatic or phobic.When considering comments about authenticity here, it is important to be aware of the occasional slippage of technological terminology into the mainstream. For example, the psychological literature does emphasise that patients respond strongly to virtual scenarios, events, and details that appear to be “authentic” (Pertaub, Slater, and Barker). Authentic in this instance implies a resemblance to a corresponding scenario/activity in the real world. This is not simply another word for photorealism, but rather it describes for instance the experimental design of one study in which virtual (AI) audience members in a virtual seminar room designed to treat public speaking anxiety were designed to exhibit “random autonomous behaviours in real-time, such as twitches, blinks, and nods, designed to encourage the illusion of life” (Kwon, Powell and Chalmers 980). The virtual humans in this study are regarded as having greater authenticity than an earlier project on social anxiety (North, North, and Coble) which did not have much visual complexity but did incorporate researcher-triggered audio clips of audience members “laughing, making comments, encouraging the speaker to speak louder or more clearly” (Kwon, Powell, and Chalmers 980). The small movements, randomly cued rather than according to a recognisable pattern, are described by the researchers as creating a sense of authenticity in the VR environment as they seem to correspond to the sorts of random minor movements that actual human audiences in a seminar can be expected to make.Nonetheless, nobody should regard an interaction with these AIs, or the avatar of Gutter, as in any way an encounter with a real person. Rather, the characteristics above function to create a disarming effect and enable the real person-viewer to willingly suspend their disbelief and enter into a pseudo-relationship with the AI; not as if it is an actual relationship, but as if it is a simulation of an actual relationship (USC). Lucy Suchman and colleagues invoke these ideas in an analysis of a YouTube video of some apparently humiliating human interactions with the MIT created AI-robot Mertz. Their analysis contends that, while it may appear on first glance that the humans’ mocking exchange with Mertz are mean-spirited, there is clearly a playfulness and willingness to engage with a form of AI that is essentially continuous with “long-standing assumptions about communication as information processing, and in the robot’s performance evidence for the limits to the mechanical reproduction of interaction as we know it through computational processes” (Suchman, Roberts, and Hird).Thus, it will be important for future work in the area of automediated testimony to consider the extent to which audiences are willing to suspend disbelief and treat the recounted traumatic experience with appropriate gravitas. These questions deserve attention, and not the kind of hype displayed by the current iteration of techno-evangelism. Indeed, some of this resurgent hype has come under scrutiny. From the perspective of VR-based tourism, Janna Thompson has recently argued that “it will never be a substitute for encounters with the real thing” (Thompson). Alyssa K. Loh, for instance, also argues that many of the negatively themed virtual experiences—such as those that drop the viewer into a scene of domestic violence or the location of a terrorist bomb attack—function not to put you in the position of the actual victim but in the position of the general category of domestic violence victim, or bomb attack victim, thus “deindividuating trauma” (Loh).Future work in this area should consider actual audience responses and rely upon mixed-methods research approaches to audience analysis. 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