Literatura académica sobre el tema "Frederick Post Co"

BackgroundPancreatic ductal adenocarcinoma (PDAC) is an aggressive cancer with short overall survival; the standard of care (SoC) is chemotherapy. Immunotherapies in development aim to remodel the stroma by depleting immunosuppressive cell types or using T-cell redirection to kill tumor cells. To date, none of these methods have improved overall survival beyond SoC. Next generation immunotherapies that employ histopathology and molecular subtyping1 for target and patient selection may succeed. Here we leverage a spatial transcriptomics platform (Nanostring Digital Spatial Profiling, DSP) to reveal molecular signaling in tumoral and stromal cells in 57 PDAC patients using tumor microarrays (TMAs). This approach is rapid and clinically relevant as molecular and histology data can be easily bridged.MethodsTMAs generated from surgical resection tissue were commercially sourced. DSP was performed using the CTA RNA panel (1,800 target genes) using PanCK fluorescence for tumor/stroma segmentation. In parallel, slides were chromogenically stained for T-cells (CD3) and macrophages (CD68/CD163). Differential gene expression, gene signature and gene co-expression network analysis was performed using linear models in R.2 3ResultsDifferential gene expression analysis and correlation to IHC confirmed the DSP platform successfully profiled tumor and stromal compartments (figure 1). Immune cell signatures4 and pathway analysis revealed a heterogenous stromal environment. Using a fibroblast gene signature derived from single-cell RNAseq5 we found fibroblast density was positively correlated to PDGFR signaling and MHC-II expression but negatively correlated to B, CD4+ T and neutrophil cell levels (figure 2a). This finding supports the idea that atypical antigen presentation in cancer associated fibroblasts (CAFs) may be exploitable for immunotherapies.6 We constructed a co-expression network from in-situ stromal gene expression and used it to identify receptors coordinately expressed with the immunosuppressive macrophage marker CSF1R as a bispecific antibody partner (figure 2b).7 Classical macrophage markers were identified but also receptors with lesser-known functions in macrophages (TIM3/HAVCR2, FPR3, MS4A6A, LILRB4). Surveying target pairs in this method allows rapid, patient-specific confirmation in serial TMA sections with singleplex IHC or RNAscope.Abstact 928 Figure 1Segmentation strategy and validation of DSP (A) PanCK, CD68 and CD3 staining from two representative tumor cores; (B, C) correlation of gene transcripts in stroma to cell counts from chromogenic staining; (D) heatmap of selected genes differentially expressed in tumor and stroma (n=57 patients).Abstract 928 Figure 2Exploration of the stromal compartment in PDAC TMAs. (A) Heatmap of selected cell type and gene signatures from gene expression in the stroma, color represents single sample enrichment score using GSVA method; (B) a gene co-expression subnetwork in the stroma centered on CSF1R, edge thickness represents strength of correlation, green nodes have evidence for cell surface expression based on proteomic profiling.7ConclusionsIn this study we were able to recapitulate known PDAC biology using very small samples of primary tumors. The combination of TMAs and DSP enables a rapid validation of targets and hypothesis generation for bispecific parings. Further analysis of untreated (n=14) and post-adjuvant chemotherapy (n=26) patients using RNA DSP, IHC and bulk RNAseq is under way. Results from this cohort will enable an integrated histopathology and molecular approach to developing next-generation immunotherapies.ReferencesCollisson EA, Bailey P, Chang DK, Biankin AV. Molecular subtypes of pancreatic cancer. Nat Rev Gastroenterol Hepatol 2019 April;16(4):207–220.Ritchie ME, Phipson B, Wu D, Hu Y, Law CW, Shi W, Smyth GK (2015). “limma powers differential expression analyses for RNA-sequencing and microarray studies.” Nucleic Acids Research 43(7):e47.Hänzelmann S, Castelo R, Guinney J (2013). “GSVA: gene set variation analysis for microarray and RNA-Seq data.” BMC Bioinformatics 14,7.Charoentong P, Finotello F, Angelova M, Mayer C, Efremova M, Rieder D, Hackl H, Trajanoski Z. Pan-cancer immunogenomic analyses reveal genotype-immunophenotype relationships and predictors of response to checkpoint blockade. Cell Rep 2017 January 3;18(1):248–262.Tirosh I, Izar B, Prakadan SM, Wadsworth MH 2nd, Treacy D, Trombetta JJ, Rotem A, Rodman C, Lian C, Murphy G, Fallahi-Sichani M, Dutton-Regester K, Lin JR, Cohen O, Shah P, Lu D, Genshaft AS, Hughes TK, Ziegler CG, Kazer SW, Gaillard A, Kolb KE, Villani AC, Johannessen CM, Andreev AY, Van Allen EM, Bertagnolli M, Sorger PK, Sullivan RJ, Flaherty KT, Frederick DT, Jané-Valbuena J, Yoon CH, Rozenblatt-Rosen O, Shalek AK, Regev A, Garraway LA. Dissecting the multicellular ecosystem of metastatic melanoma by single-cell RNA-seq. Science 2016 April 8;352(6282):189–96.Elyada E, Bolisetty M, Laise P, Flynn WF, Courtois ET, Burkhart RA, Teinor JA, Belleau P, Biffi G, Lucito MS, Sivajothi S, Armstrong TD, Engle DD, Yu KH, Hao Y, Wolfgang CL, Park Y, Preall J, Jaffee EM, Califano A, Robson P, Tuveson DA. Cross-species single-cell analysis of pancreatic ductal adenocarcinoma reveals antigen-presenting cancer-associated fibroblasts. Cancer Discov 2019 August;9(8):1102–1123. Bausch-Fluck D, Hofmann A, Bock T, Frei AP, Cerciello F, Jacobs A, Moest H, Omasits U, Gundry RL, Yoon C, Schiess R, Schmidt A, Mirkowska P, Härtlová A, Van Eyk JE, Bourquin JP, Aebersold R, Boheler KR, Zandstra P, Wollscheid B. A mass spectrometric-derived cell surface protein atlas. PLoS One 2015 April 20;10(3):e0121314.Ethics ApprovalSpecimens were harvested from unused tissue after a surgical tumor resection procedure. A discrete legal consent form from both hospital and individuals was obtained by the commercial tissue vendor BioMax US for all samples analyzed in this abstract. All human tissues are collected under HIPPA approved protocols.ConsentWritten informed consent was obtained from the patient for publication of this abstract and any accompanying images. A copy of the written consent is available for review by the Editor of this journal.

TK and SM are Co-first authors INTRODUCTION Treatment with chimeric antigen receptor (CAR) T-cells significantly improved outcomes in relapsed/refractory non-Hodgkin lymphoma (NHL) and multiple myeloma (MM). CAR-T activation and anti-tumor cytotoxicity are associated with bystander inflammatory reactions resulting in CRS and/or ICANS. Due to complex cytokine profiles, disease heterogeneity, and variability between commercial CAR-T products, identification of risk factors associated with CRS and/or ICANS has been challenging. In this study, we used plasma proteomic profiling at different timepoints to identify possible inflammatory mediators associated with CRS and ICANS METHODS We prospectively collected plasma samples from patients who received CAR-T cells therapy between 9/2021 to 12/2022 at several time points - before lymphodepletion chemotherapy on day -5 (relative to CAR-T cell infusion), prior to CAR T-cell infusion on day 0, and post CAR T-cell therapy on days 1, 2, 3, and 7. Protein profiling analyses were conducted at Eve Technologies (Calgary, Alberta, Canada) using an assay measuring 71 total cytokines and chemokines. Proteins levels were compared across different time points used Wilcoxon rank test, while features associated with CRS/ICANS were identified using logistic regression. Receiver operating characteristic (ROC) analysis used to identify variables predictive for CRS. Area under the curve (AUC) of at least 0.8 was used and best cutoffs were determined according to Youden index. P-values <0.05 were considered statistically significant. This study was supported in part by The Frederick A. Deluca Foundation. RESULTS Overall, 56 patients with available cytokine assays at all time points were included. The median age was 65 years (IQR: 57-74) and 70% were men. Of all patients, 26 (46%) had diffuse large B-cell lymphoma (DLBCL), 23 (41%) MM, 4 (7%) mantle cell lymphoma, and 3 (6) follicular lymphoma. Ide-cel (39%), liso-cel (36%), and axi-cel (17%) were the most used CAR-T cell products. All patients received lymphodepleting chemotherapy with fludarabine/cyclophosphamide. In total, 35 (63%) patients developed CRS (grade 1, 89%; grade 2, 8%; grade 3, 3%) and 18 (32%) patients developed ICANS (grade 1, 72%; grade 2, 22%; grade 3, 6%). Compared to patients who did not develop CRS, patients with CRS had lower median absolute lymphocyte counts at day -5 (0.02 x10 9/L vs. 0.05, p=0.0146), higher baseline CRP (13 vs. 4 mg/L, p=0.0005), and higher ferritin (914 vs. 442 mg/L, p=0.048). No differences in the type of CAR-T products (p=0.090), percentages of DLBCL or MM (p=0.270) were observed between CRS and no CRS cohorts ( Panel-A). First, we investigated the proteomic profiles at baseline for CRS odds. Hemoglobin (odd ratio [OR]: 0.6, 95%CI: 0.4-0.8) was associated with lower odds for CRS while IL6 (2.0, 1.2-3.3) and stem cell factor (scf 2.2, 1.2-4.2) were associated with higher odds of CRS. We then analyzed the differences in cytokine levels between day 0 and day 3 to select cytokines with significant changes for further analysis ( Panel-B). At day 3, groa (1.9, 1.1-3.3), IL3 (1.6, 1.2-2.1), IL5 (1.5, 1.2-1.9), IL6 (1.7, 1.3-2.3), IL10 (2.0, 1.3-3.0), TNFα (2.0, 1.1-3.6), and mcp2 (2.5, 1.2-5.3) were all associated with higher odds for CRS. Based on ROC analysis at day 3, best cutoff points to estimate CRS (value, sensitivity/specificity) for IL3 (3, 80%/90%), IL5 (197, 74%/85%), IL6 (11, 70%/85%), and IL10 (53, 74%/85%) were identified. Based on that, elevated IL3 (OR:24, 95%CI: 6-105), IL5 (11, 3-40), IL6 (21, 5-95), and IL10 (12, 3-46) were associated with higher odds for CRS. For ICANS, day 3 IL3 (1.5, 1.2-1.9), IL6 (1.2, 1.1-1.5), IL8 (2.1, 1.4-3.3), and IL10 (1.7, 1.3-2.4) were associated with higher odds for ICANS. Best cutoff points to estimate ICANS at day 3 (value, sensitivity/specificity) for IL3 (5, 78%/76%), IL6 (115, 78%/78%), IL10 (130, 81%/80%), and IL8 (21, 83%/81%) were identified. Based on that, elevated IL3 (OR:10, 95%CI: 3-37), IL6 (11, 3-43), IL10 (13, 3-51), and IL8 (19, 4-81) were associated with higher odds for ICANS. CONCLUSIONS In our comprehensive plasma proteomic profiles analysis, we identified cutoffs for IL3, IL6, IL5 and IL10 that may be predictive for CRS and ICANS regardless of CAR-T cell product. Our results are clinically applicable and may be used to recognize patients at risk for CRS and/or ICANS who may be eligible for prophylactic therapies.

The article reviews the letters from royal persons to Vasily Zhukovsky. Based on these letters, the character of the epistolary dialogue between the poet and representatives of the Romanov dynasty and of the German dynasties is reconstructed completely for the first time. Zhukovsky was not the only writer who was warmly welcomed at court, but his case was unique. The poet organically joined the context of the new emerging ideology of “family monarchy”, in which a small circle of the imperial family, professing family and domestic values, acted as a prototype of the all-imperial unity of subjects symbolically included in the sphere of paternal relations. Moreover, Zhukovsky was one of the co-creators and translators of this ideology. In addition, Zhukovsky, originally a reader under Empress Maria Feodorovna, entered the circle of royal persons as a poet and remained so until the end of his life. It was his tireless work that designated a new stage in the interaction of power and literature. The system of literary patronage, which determined the sociocultural functioning of the 18thcentury literature, gradually faded into the past and was replaced by a system of literature friendly communities, in which informal groups were the centers of the literary process. The poet transferred these forms of communication to the court, transforming Pavlovsk and the circle of Maria Feodorovna, and then the circle of Alexandra Feodorovna, into a kind of a literary community. “Family monarchy” under the aegis of Zhukovsky acquired a distinct literary and aesthetic dimension. Art here became a necessary part of everyday life, which, on the one hand, set the standard for the royal persons’ thinking and behavior, and, on the other, opened up channels for interaction with friendly communities outside the court. The conceptual framework of “family monarchy” legitimized private and home-centered topics of communication becoming a powerful filter that set etiquette forms that hindered the possibility of discussing many issues, be it business problems or politics. Based on the letters of Grand Duke Alexander Nikolaevich, the article shows how such etiquette communication worked, including how Alexander reacted to Zhukovsky’s political reflections. On the other hand, the letters of the King of Prussia, Frederick William IV, demonstrate strategies for bypassing etiquette communication and going to informal friendly reflection. The appendix to the article is a chronological index of all known letters of the royal persons to Zhukovsky.

Background:CD4+ T cells reacting to post-translationally modified, citrullinated self-antigens are thought to play a central role in the pathogenesis of rheumatoid arthritis (RA)1. This is evidenced by a strong HLA class II association, the success of therapeutic co-stimulation blockade and the detection of autoantigen specific T-cells using HLA class II multimers2. These cells may represent a target for antigen-specific, tolerogenic therapies and their in-depth phenotyping may provide the means by which to monitor such treatment.Objectives:To identify the citrullinated-peptide (cit-peptide) induced cytokine repertoire of antigen-specific memory CD4+ T cells in both healthy controls (HCs) and ACPA positive RA patients using intracellular cytokine staining and flow cytometry. Of note, the HLA-types of both HCs and RA patients were not known.Methods:Cryopreserved peripheral blood mononuclear cells (PBMC) from both HCs (n = 8) and RA patients (n = 13) with both early (untreated) and established disease were thawed and labelled with a proliferation tracking dye (PTD). Labelled PBMC were then either incubated alone or with a pool of cit-peptides for 9-days, followed by a 5-hour restimulation with PMA and ionomycin, where cytokine secretion was blocked for the final 4-hours using brefeldin-A. Cells were then harvested, permeabilised and stained for T cell surface markers and intracellular cytokines including IFN-γ, IL-4, IL-21 and IL-17. Stained cells were immediately acquired using a BD Fortessa X20, where antigen-specific CD4+ T cells were identified as the viable CD45RO+ (memory) CD4+ T cell population that had proliferated (PTDlow) in response to the cit-peptides. Stimulation indices (SI) were calculated as the percentage of proliferated memory CD4+ T cells in the stimulated wells divided by the percentage in the unstimulated conditions, and cit-peptide responders were defined as those with an SI > 2.0. Net cytokine production was measured by subtracting the percentage cytokine production from unstimulated CD4+ CD45RO+ PTDlow cells, from those stimulated with the cit-peptides.Results:Comparable proliferative responses were observed in both donor groups in response to stimulation with the cit-peptide pool, where 37 % of HCs and 31 % of RA patients responded with an SI > 2.0 (Fig. 1A). While little cytokine production was observed in the cit-peptide responding HC T cells, for responding RA donors, cit-peptide responsive CD4+ memory T cells were predominantly IFN-γ and IL-21 producing (Fig. 1B and 1C). In contrast, these donors did not produce significant levels of either IL-17 or IL-4 (Fig. 1D and 1E).Conclusion:Cit-peptides were able to induce proliferation in both HCs and RA memory CD4+ T cells which, amongst the RA donors only, were of a Th1/Tfh subtype. In contrast, and while based only on a small sample, cit-peptides did not induce either IL-17 or IL-4 production in either donor group, suggesting a lack of Th17/Th2 responses. Not all donors responded to the peptide pool, possibly reflecting the limited number of pooled cit-peptides or to a lack of confirmed HLA-DRB1*04:01 positive donors, as peptides were selected for their specificity on this basis. Future work will therefore include HLA-typing, as well as the inclusion of additional citrullinated-epitopes to demonstrate autoreactivity in a wider cross-section of patients. Further phenotyping of the cit-peptide specific T cells will be performed, and future plans will be to study the assay data alongside clinical outcomes to assess its value for immune monitoring.References:[1]Malmström, V et al Nat Rev Immunol. 2017; 17(1):60-75.[2]Gerstner, C et al BMC Immunol. 2020; 21(27):1-14.Disclosure of Interests:Jessica Swift: None declared, James Stanway: None declared, Ioana Nicorescu: None declared, Catharien Hilkens: None declared, Frederik Stevenaert Employee of: Janssen, Amy Anderson Grant/research support from: Pfizer, GSK and Janssen, Arthur Pratt Grant/research support from: Pfizer, GSK and Janssen, John D Isaacs Speakers bureau: Abbvie, Gilead, Roche, UC, Consultant of: Abbvie, Gilead, Roche, UC, Grant/research support from: Pfizer, GSK and JanssenFigure 1.Citrullinated-peptide specific memory CD4+ T cell proliferation (A) and net % cytokine production of IFN-γ (B), IL-21 (C), IL-17 (D) and IL-4 (E) positive cells.

My thesis is that new media, starting with analog broadcast and going through digital convergence, blur the line between work time and free time. The technology that we are adopting has transformed free time into potential and actual labour time. At the dawn of the modern age, work shifted from tasked time to measured time. Previously, tasked time intermingled work and leisure according to the vagaries of nature. All this was banished when industrial capitalism instituted the work clock (Mumford 12-8). But now, many have noticed how post-industrial capitalism features a new intermingling captured in such expressions as "24/7" and "multi-tasking." Yet, we are only beginning to understand that media are driving a return to the pre-modern where the hour and the space are both ambiguous, available for either work or leisure. This may be the unfortunate side effect of the much vaunted "interactivity." Do you remember the old American TV show Dobie Gillis (1959-63) which featured the character Maynard G. Krebs? He always shuddered at the mention of the four-letter word "work." Now, American television shows makes it a point that everyone works (even if just barely). Seinfeld was a bold exception in featuring the work-free Kramer; a deliberate homage to the 1940s team of Abbott and Costello. Today, as welfare is turned into workfare, The New York Times scolds even the idle rich to adopt the work ethic (Yazigi). The Forms of Broadcast and Digital Media Are Driving the Merger of Work and Leisure More than the Content It is not just the content of television and other media that is undermining the leisured life; it is the social structure within which we use the media. Broadcast advertisements were the first mode/media combinations that began to recolonise free time for the new consumer economy. There had been a previous buildup in the volume and the ubiquity of advertising particularly in billboards and print. However, the attention of the reader to the printed commercial message could not be controlled and measured. Radio was the first to appropriate and measure its audience's time for the purposes of advertising. Nineteenth century media had promoted a middle class lifestyle based on spending money on home to create a refuge from work. Twentieth century broadcasting was now planting commercial messages within that refuge in the sacred moments of repose. Subsequent to broadcast, home video and cable facilitated flexible work by offering entertainment on a 24 hour basis. Finally, the computer, which juxtaposes image/sound/text within a single machine, offers the user the same proto-interactive blend of entertainment and commercial messages that broadcasting pioneered. It also fulfills the earlier promise of interactive TV by allowing us to work and to shop, in all parts of the day and night. We need to theorise this movement. The theory of media as work needs an institutional perspective. Therefore, I begin with Dallas Smythe's blindspot argument, which gave scholarly gravitas to the structural relationship of work and media (263-299). Horkheimer and Adorno had already noticed that capitalism was extending work into free time (137). Dallas Smythe went on to dissect the precise means by which late capitalism was extending work. Smythe restates the Marxist definition of capitalist labour as that human activity which creates exchange value. Then he considered the advertising industry, which currently approaches200 billion in the USA and realised that a great deal of exchange value has been created. The audience is one element of the labour that creates this exchange value. The appropriation of people's time creates advertising value. The time we spend listening to commercials on radio or viewing them on TV can be measured and is the unit of production for the value of advertising. Our viewing time ipso facto has been changed into work time. We may not experience it subjectively as work time although pundits such as Marie Winn and Jerry Mander suggest that TV viewing contributes to the same physical stresses as actual work. Nonetheless, Smythe sees commercial broadcasting as expanding the realm of capitalism into time that was otherwise set aside for private uses. Smythe's essay created a certain degree of excitement among political economists of media. Sut Jhally used Smythe to explain aspects of US broadcast history such as the innovations of William Paley in creating the CBS network (Jhally 70-9). In 1927, as Paley contemplated winning market share from his rival NBC, he realised that selling audience time was far more profitable than selling programs. Therefore, he paid affiliated stations to air his network's programs while NBC was still charging them for the privilege. It was more lucrative to Paley to turn around and sell the stations' guaranteed time to advertisers, than to collect direct payments for supplying programs. NBC switched to his business model within a year. Smythe/Jhally's model explains the superiority of Paley's model and is a historical proof of Smythe's thesis. Nonetheless, many economists and media theorists have responded with a "so what?" to Smythe's thesis that watching TV as work. Everyone knows that the basis of network television is the sale of "eyeballs" to the advertisers. However, Smythe's thesis remains suggestive. Perhaps he arrived at it after working at the U.S. Federal Communications Commission from 1943 to 1948 (Smythe 2). He was part of a team that made one last futile attempt to force radio to embrace public interest programming. This effort failed because the tide of consumerism was too strong. Radio and television were the leading edge of recapturing the home for work, setting the stage for the Internet and a postmodern replication of the cottage industries of pre and proto-industrial worlds. The consequences have been immense. The Depression and the crisis of over-production Cultural studies recognises that social values have shifted from production to consumption (Lash and Urry). The shift has a crystallising moment in the Great Depression of 1929 through 1940. One proposal at the time was to reduce individual work hours in order to create more jobs (see Hunnicut). This proposal of "share the work" was not adopted. From the point of view of the producer, sharing the work would make little difference to productivity. However, from the retailer's perspective each individual worker would accumulate less money to buy products. Overall sales would stagnate or decline. Prominent American economists at the time argued that sharing the work would mean sharing the unemployment. They warned the US government this was a fundamental threat to an economy based on consumption. Only a fully employed laborer could have enough money to buy down the national inventory. In 1932, N. A. Weston told the American Economic Association that: " ...[the labourers'] function in society as a consumer is of equal importance as the part he plays as a producer." (Weston 11). If the defeat of the share the work movement is the negative manifestation of consumerism, then the invasion by broadcast of our leisure time is its positive materialisation. We can trace this understanding by looking at Herbert Hoover. When he was the Secretary of Commerce in 1924 he warned station executives that: "I have never believed that it was possible to advertise through broadcasting without ruining the [radio] industry" (Radio's Big Issue). He had not recognised that broadcast advertising would be qualitatively more powerful for the economy than print advertising. By 1929, Hoover, now President Hoover, approved an economics committee recommendation in the traumatic year of 1929 that leisure time be made "consumable " (Committee on Recent Economic Changes xvi). His administration supported the growth of commercial radio because broadcasting was a new efficient answer to the economists' question of how to motivate consumption. Not so coincidentally network radio became a profitable industry during the great Depression. The economic power that pre-war radio hinted at flourished in the proliferation of post-war television. Advertisers switched their dollars from magazines to TV, causing the demise of such general interest magazines as Life, The Saturday Evening Postet al. Western Europe quickly followed the American broadcasting model. Great Britain was the first, allowing television to advertise the consumer revolution in 1955. Japan and many others started to permit advertising on television. During the era of television, the nature of work changed from manufacturing to servicing (Preston 148-9). Two working parents also became the norm as a greater percentage of the population took salaried employment, mostly women (International Labour Office). Many of the service jobs are to monitor the new global division of labour that allows industrialised nations to consume while emerging nations produce. (Chapter seven of Preston is the most current discussion of the shift of jobs within information economies and between industrialised and emerging nations.) Flexible Time/ Flexible Media Film and television has responded by depicting these shifts. The Mary Tyler Moore Show debuted in September of 1970 (see http://www.transparencynow.com/mary.htm). In this show nurturing and emotional attachments were centered in the work place, not in an actual biological family. It started a trend that continues to this day. However, media representations of the changing nature of work are merely symptomatic of the relationship between media and work. Broadcast advertising has a more causal relationship. As people worked more to buy more, they found that they wanted time-saving media. It is in this time period that the Internet started (1968), that the video cassette recorder was introduced (1975) and that the cable industry grew. Each of these ultimately enhanced the flexibility of work time. The VCR allowed time shifting programs. This is the media answer to the work concept of flexible time. The tired worker can now see her/his favourite TV show according to his/her own flex schedule (Wasser 2001). Cable programming, with its repeats and staggered starting times, also accommodates the new 24/7 work day. These machines, offering greater choice of programming and scheduling, are the first prototypes of interactivity. The Internet goes further in expanding flexible time by adding actual shopping to the vicarious enjoyment of consumerist products on television. The Internet user continues to perform the labour of watching advertising and, in addition, now has the opportunity to do actual work tasks at any time of the day or night. The computer enters the home as an all-purpose machine. Its purchase is motivated by several simultaneous factors. The rhetoric often stresses the recreational and work aspects of the computer in the same breath (Reed 173, Friedrich 16-7). Games drove the early computer programmers to find more "user-friendly" interfaces in order to entice young consumers. Entertainment continues to be the main driving force behind visual and audio improvements. This has been true ever since the introduction of the Apple II, Radio Shack's TRS 80 and Atari 400 personal computers in the 1977-1978 time frame (see http://www.atari-history.com/computers/8bits/400.html). The current ubiquity of colour monitors, and the standard package of speakers with PC computers are strong indications that entertainment and leisure pursuits continue to drive the marketing of computers. However, once the computer is in place in the study or bedroom, its uses fully integrates the user with world of work in both the sense of consuming and creating value. This is a specific instance of what Philip Graham calls the analytical convergence of production, consumption and circulation in hypercapitalism. The streaming video and audio not only captures the action of the game, they lend sensual appeal to the banner advertising and the power point downloads from work. In one regard, the advent of Internet advertising is a regression to the pre-broadcast era. The passive web site ad runs the same risk of being ignored as does print advertising. The measure of a successful web ad is interactivity that most often necessitates a click through on the part of the viewer. Ads often show up on separate windows that necessitate a click from the viewer if only to close down the program. In the words of Bolter and Grusin, click-through advertising is a hypermediation of television. In other words, it makes apparent the transparent relationship television forged between work and leisure. We do not sit passively through Internet advertising, we click to either eliminate them or to go on and buy the advertised products. Just as broadcasting facilitated consumable leisure, new media combines consumable leisure with flexible portable work. The new media landscape has had consequences, although the price of consumable leisure took awhile to become visible. The average work week declined from 1945 to 1982. After that point in the US, it has been edging up, continuously (United States Bureau of Labor Statistics). There is some question whether the computer has improved productivity (Kim), there is little question that the computer is colonising leisure time for multi-tasking. In a population that goes online from home almost twice as much as those who go online from work, almost half use their online time for work based activities other than email. Undoubtedly, email activity would account for even more work time (Horrigan). On the other side of the blur between work and leisure, the Pew Institute estimates that fifty percent use work Internet time for personal pleasure ("Wired Workers"). Media theory has to reengage the problem that Horkheimer/Adorno/Smythe raised. The contemporary problem of leisure is not so much the lack of leisure, but its fractured, non-contemplative, unfulfilling nature. A media critique will demonstrate the contribution of the TV and the Internet to this erosion of free time. References Bolter, Jay David, and Richard Grusin. Remediation: Understanding New Media. Cambridge, MA: MIT Press, 2000. Committee on Recent Economic Changes. Recent Economic Changes. Vol. 1. New York: no publisher listed, 1929. Friedrich, Otto. "The Computer Moves In." Time 3 Jan. 1983: 14-24. Graham, Philip. Hypercapitalism: A Political Economy of Informational Idealism. In press for New Media and Society2.2 (2000). Horkheimer, Max, and Theodor W. Adorno. Dialectic of Enlightenment. New York: Continuum Publishing, 1944/1987. Horrigan, John B. "New Internet Users: What They Do Online, What They Don't and Implications for the 'Net's Future." Pew Internet and American Life Project. 25 Sep. 2000. 24 Oct. 2001 <http://www.pewinternet.org/reports/toc.asp?Report=22>. Hunnicutt, Benjamin Kline. Work without End: Abandoning Shorter Hours for the Right to Work. Philadelphia: Temple UP, 1988. International Labour Office. Economically Active Populations: Estimates and Projections 1950-2025. Geneva: ILO, 1995. Jhally, Sut. The Codes of Advertising. New York: St. Martin's Press, 1987. Kim, Jane. "Computers and the Digital Economy." Digital Economy 1999. 8 June 1999. October 24, 2001 <http://www.digitaleconomy.gov/powerpoint/triplett/index.htm>. Lash, Scott, and John Urry. Economies of Signs and Space. London: Sage Publications, 1994. Mander, Jerry. Four Arguments for the Elimination of Television. New York: Morrow Press, 1978. Mumford, Lewis. Technics and Civilization. New York: Harcourt Brace, 1934. Preston, Paschal. Reshaping Communication: Technology, Information and Social Change. London: Sage, 2001. "Radio's Big Issue Who Is to Pay the Artist?" The New York Times 18 May 1924: Section 8, 3. Reed, Lori. "Domesticating the Personal Computer." Critical Studies in Media Communication17 (2000): 159-85. Smythe, Dallas. Counterclockwise: Perspectives on Communication. Boulder, CO: Westview Press, 1993. United States Bureau of Labor Statistics. Unpublished Data from the Current Population Survey. 2001. Wasser, Frederick A. Veni, Vidi, Video: The Hollywood Empire and the VCR. Austin, TX: U of Texas P, 2001. Weston, N.A., T.N. Carver, J.P. Frey, E.H. Johnson, T.R. Snavely and F.D. Tyson. "Shorter Working Time and Unemployment." American Economic Review Supplement 22.1 (March 1932): 8-15. <http://links.jstor.org/sici?sici=0002-8282%28193203%2922%3C8%3ASWTAU%3E2.0.CO%3B2-3>. Winn, Marie. The Plug-in Drug. New York: Viking Press, 1977. "Wired Workers: Who They Are, What They're Doing Online." Pew Internet Life Report 3 Sep. 2000. 24 Oct. 2000 <http://www.pewinternet.org/reports/toc.asp?Report=20>. Yazigi, Monique P. "Shocking Visits to the Real World." The New York Times 21 Feb. 1990. Page unknown. Links http://www.pewinternet.org/reports/toc.asp?Report=20 http://www.pewinternet.org/reports/toc.asp?Report=22 http://www.atari-history.com/computers/8bits/400.html http://www.transparencynow.com/mary.htm http://www.digitaleconomy.gov/powerpoint/triplett/index.htm http://links.jstor.org/sici?sici=0002-8282%28193203%2922%3C8%3ASWTAU%3 E2.0.CO%3B2-3 Citation reference for this article MLA Style Wasser, Frederick. "Media Is Driving Work" M/C: A Journal of Media and Culture 4.5 (2001). [your date of access] < http://www.media-culture.org.au/0111/Wasser.xml >. Chicago Style Wasser, Frederick, "Media Is Driving Work" M/C: A Journal of Media and Culture 4, no. 5 (2001), < http://www.media-culture.org.au/0111/Wasser.xml > ([your date of access]). APA Style Wasser, Frederick. (2001) Media Is Driving Work. M/C: A Journal of Media and Culture 4(5). < http://www.media-culture.org.au/0111/Wasser.xml > ([your date of access]).

Abstract A hundred years after the discovery of the Merensky Reef in 1924, it is appropriate to present the new mineral andrieslombaardite in honour of Andries Frederik Lombaard who was instrumental in its discovery. Andrieslombaardite, RhSbS, was first described as an unknown mineral from placer deposits associated with the Tulameen Alaskan-Uralian type complex, British Colombia, Canada (Raicevic and Cabri, 1976) but has since been reported from several other deposits including the platiniferous Driekop, Mooihoek, and Onverwacht pipes in the eastern Bushveld Complex, South Africa. The mineral and the name were approved by the Commission on New Minerals Nomenclature and Classification (CNMNC) of the International Mineralogical Association (IMA no. 2022-076) based on data in the co-type samples from Onverwacht and a co-type sample from the Yubdo stream, Birbir River, Ethiopia. Andrieslombaardite in the Onverwacht sample is a single 8 x 20 μm grain attached to laurite in a matrix of altered silicate and Fe-oxyhydroxide minerals. In the Yubdo samples, there are many grains of pale brownish gray andrieslombaardite up to 25 x 55 μm in size, included in Pt-Fe alloys, some associated with erlichmanite, and others attached to bornite and chalcopyrite. The reflectance values (R%) measured in air and in oil at the COM wavelengths are 48.3 and 33.0 (470 nm), 49.3 and 34.0 (546 nm), 51.0 and 35.9 (589 nm), and 51.8 and 36.7 (650 nm). The colour values x, y, Y, λd, and Pe in air are 0.317, 0.322, 50.3, 580, and 3.2, and in oil are 0.319, 0.324, 35.6, 579, and 4.5. The composition of andrieslombaardite is ideally RhSbS, but it contains variable amounts of Fe, Pt, Pd, and Ir that may substitute for Rh. The mineral is cubic with unit-cell dimensions of a = 6.0278(4) Å, V = 219.01(6) Å3 and Z = 4. It was synthesised at 400 and 550°C using stoichiometric elemental amounts. It is a member of the cobaltite group. The mineralisation of the intrusive dunite pipes was probably introduced at high temperatures, under magmatic conditions. The primary assemblages were to a certain degree overprinted and redistributed by low-temperature hydrothermal fluids. The Pt-Fe alloys from Yubdo containing PGM inclusions such as andrieslombaardite in the Yubdo-Alaskan-type complex were formed at some post-magmatic stage owing to PGE remobilisation during hydrothermal or metamorphic episodes.

This article investigates the prosthesis of identity through the process of branding. It examines cross-cultural manifestations of this phenomena from sixth millennium BCE Syria to twelfth century Japan and Britain. From the Neolithic Era, humanity has sort to extend their identities using pictorial signs that were characteristically simple. Designed to be distinctive and instantly recognisable, the totemic symbols served to signal the origin of the bearer. Subsequently, the development of branding coincided with periods of increased in mobility both in respect to geography and social strata. This includes fifth millennium Mesopotamia, nineteenth century Britain, and America during the 1920s.There are fewer articles of greater influence on contemporary culture than A Theory of Human Motivation written by Abraham Maslow in 1943. Nearly seventy-five years later, his theories about the societal need for “belongingness” and “esteem” remain a mainstay of advertising campaigns (Maslow). Although the principles are used to sell a broad range of products from shampoo to breakfast cereal they are epitomised by apparel. This is with refence to garments and accessories bearing corporation logos. Whereas other purchased items, imbued with abstract products, are intended for personal consumption the public display of these symbols may be interpreted as a form of signalling. The intention of the wearers is to literally seek the fulfilment of the aforementioned social needs. This article investigates the use of brands as prosthesis.Coats and Crests: Identity Garnered on Garments in the Middle Ages and the Muromachi PeriodA logo, at its most basic, is a pictorial sign. In his essay, The Visual Language, Ernest Gombrich described the principle as reducing images to “distinctive features” (Gombrich 46). They represent a “simplification of code,” the meaning of which we are conditioned to recognise (Gombrich 46). Logos may also be interpreted as a manifestation of totemism. According to anthropologist Claude Levi-Strauss, the principle exists in all civilisations and reflects an effort to evoke the power of nature (71-127). Totemism is also a method of population distribution (Levi-Strauss 166).This principle, in a form garnered on garments, is manifested in Mon Kiri. The practice of cutting out family crests evolved into a form of corporate branding in Japan during the Meiji Period (1868-1912) (Christensen 14). During the Muromachi period (1336-1573) the crests provided an integral means of identification on the battlefield (Christensen 13). The adorning of crests on armour was also exercised in Europe during the twelfth century, when the faces of knights were similarly obscured by helmets (Family Crests of Japan 8). Both Mon Kiri and “Coat[s] of Arms” utilised totemic symbols (Family Crests of Japan 8; Elven 14; Christensen 13). The mon for the imperial family (figs. 1 & 2) during the Muromachi Period featured chrysanthemum and paulownia flowers (Goin’ Japaneque). “Coat[s] of Arms” in Britain featured a menagerie of animals including lions (fig. 3), horses and eagles (Elven).The prothesis of identity through garnering symbols on the battlefield provided “safety” through demonstrating “belongingness”. This constituted a conflation of two separate “needs” in the “hierarchy of prepotency” propositioned by Maslow. Fig. 1. The mon symbolising the Imperial Family during the Muromachi Period featured chrysanthemum and paulownia. "Kamon (Japanese Family Crests): Ancient Key to Samurai Culture." Goin' Japaneque! 15 Nov. 2015. 27 July 2019 <http://goinjapanesque.com/05983/>.Fig. 2. An example of the crest being utilised on a garment can be found in this portrait of samurai Oda Nobunaga. "Japan's 12 Most Famous Samurai." All About Japan. 27 Aug. 2018. 27 July 2019 <https://allabout-japan.com/en/article/5818/>.Fig. 3. A detail from the “Index of Subjects of Crests.” Elven, John Peter. The Book of Family Crests: Comprising Nearly Every Family Bearing, Properly Blazoned and Explained, Accompanied by Upwards of Four Thousand Engravings. Henry Washbourne, 1847.The Pursuit of Prestige: Prosthetic Pedigree from the Late Georgian to the Victorian Eras In 1817, the seal engraver to Prince Regent, Alexander Deuchar, described the function of family crests in British Crests: Containing The Crest and Mottos of The Families of Great Britain and Ireland; Together with Those of The Principal Cities and Heraldic Terms as follows: The first approach to civilization is the distinction of ranks. So necessary is this to the welfare and existence of society, that, without it, anarchy and confusion must prevail… In an early stage, heraldic emblems were characteristic of the bearer… Certain ordinances were made, regulating the mode of bearing arms, and who were entitled to bear them. (i-v)The partitioning of social classes in Britain had deteriorated by the time this compendium was published, with displays of “conspicuous consumption” displacing “heraldic emblems” as a primary method of status signalling (Deuchar 2; Han et al. 18). A consumerism born of newfound affluence, and the desire to signify this wealth through luxury goods, was as integral to the Industrial Revolution as technological development. In Rebels against the Future, published in 1996, Kirkpatrick Sale described the phenomenon:A substantial part of the new population, though still a distinct minority, was made modestly affluent, in some places quite wealthy, by privatization of of the countryside and the industrialization of the cities, and by the sorts of commercial and other services that this called forth. The new money stimulated the consumer demand… that allowed a market economy of a scope not known before. (40)This also reflected improvements in the provision of “health, food [and] education” (Maslow; Snow 25-28). With their “physiological needs” accommodated, this ”substantial part” of the population were able to prioritised their “esteem needs” including the pursuit for prestige (Sale 40; Maslow).In Britain during the Middle Ages laws “specified in minute detail” what each class was permitted to wear (Han et al. 15). A groom, for example, was not able to wear clothing that exceeded two marks in value (Han et al. 15). In a distinct departure during the Industrial Era, it was common for the “middling and lower classes” to “ape” the “fashionable vices of their superiors” (Sale 41). Although mon-like labels that were “simplified so as to be conspicuous and instantly recognisable” emerged in Europe during the nineteenth century their application on garments remained discrete up until the early twentieth century (Christensen 13-14; Moore and Reid 24). During the 1920s, the French companies Hermes and Coco Chanel were amongst the clothing manufacturers to pioneer this principle (Chaney; Icon).During the 1860s, Lincolnshire-born Charles Frederick Worth affixed gold stamped labels to the insides of his garments (Polan et al. 9; Press). Operating from Paris, the innovation was consistent with the introduction of trademark laws in France in 1857 (Lopes et al.). He would become known as the “Father of Haute Couture”, creating dresses for royalty and celebrities including Empress Eugene from Constantinople, French actress Sarah Bernhardt and Australian Opera Singer Nellie Melba (Lopes et al.; Krick). The clothing labels proved and ineffective deterrent to counterfeit, and by the 1890s the House of Worth implemented other measures to authenticate their products (Press). The legitimisation of the origin of a product is, arguably, the primary function of branding. This principle is also applicable to subjects. The prothesis of brands, as totemic symbols, assisted consumers to relocate themselves within a new system of population distribution (Levi-Strauss 166). It was one born of commerce as opposed to heraldry.Selling of Self: Conferring Identity from the Neolithic to Modern ErasIn his 1817 compendium on family crests, Deuchar elaborated on heraldry by writing:Ignoble birth was considered as a stain almost indelible… Illustrious parentage, on the other hand, constituted the very basis of honour: it communicated peculiar rights and privileges, to which the meaner born man might not aspire. (v-vi)The Twinings Logo (fig. 4) has remained unchanged since the design was commissioned by the grandson of the company founder Richard Twining in 1787 (Twining). In addition to reflecting the heritage of the family-owned company, the brand indicated the origin of the tea. This became pertinent during the nineteenth century. Plantations began to operate from Assam to Ceylon (Jones 267-269). Amidst the rampant diversification of tea sources in the Victorian era, concerns about the “unhygienic practices” of Chinese producers were proliferated (Wengrow 11). Subsequently, the brand also offered consumers assurance in quality. Fig. 4. The Twinings Logo reproduced from "History of Twinings." Twinings. 24 July 2019 <https://www.twinings.co.uk/about-twinings/history-of-twinings>.The term ‘brand’, adapted from the Norse “brandr”, was introduced into the English language during the sixteenth century (Starcevic 179). At its most literal, it translates as to “burn down” (Starcevic 179). Using hot elements to singe markings onto animals been recorded as early as 2700 BCE in Egypt (Starcevic 182). However, archaeologists concur that the modern principle of branding predates this practice. The implementation of carved seals or stamps to make indelible impressions of handcrafted objects dates back to Prehistoric Mesopotamia (Starcevic 183; Wengrow 13). Similar traditions developed during the Bronze Age in both China and the Indus Valley (Starcevic 185). In all three civilisations branding facilitated both commerce and aspects of Totemism. In the sixth millennium BCE in “Prehistoric” Mesopotamia, referred to as the Halaf period, stone seals were carved to emulate organic form such as animal teeth (Wengrow 13-14). They were used to safeguard objects by “confer[ring] part of the bearer’s personality” (Wengrow 14). They were concurrently applied to secure the contents of vessels containing “exotic goods” used in transactions (Wengrow 15). Worn as amulets (figs. 5 & 6) the seals, and the symbols they produced, were a physical extension of their owners (Wengrow 14).Fig. 5. Recreation of stamp seal amulets from Neolithic Mesopotamia during the sixth millennium BCE. Wengrow, David. "Prehistories of Commodity Branding." Current Anthropology 49.1 (2008): 14.Fig. 6. “Lot 25Y: Rare Syrian Steatite Amulet – Fertility God 5000 BCE.” The Salesroom. 27 July 2019 <https://www.the-saleroom.com/en-gb/auction-catalogues/artemis-gallery-ancient-art/catalogue-id-srartem10006/lot-a850d229-a303-4bae-b68c-a6130005c48a>. Fig. 7. Recreation of stamp seal designs from Mesopotamia from the late fifth to fourth millennium BCE. Wengrow, David. "Prehistories of Commodity Branding." Current Anthropology 49. 1 (2008): 16.In the following millennia, the seals would increase exponentially in application and aesthetic complexity (fig. 7) to support the development of household cum cottage industries (Wengrow 15). In addition to handcrafts, sealed vessels would transport consumables such as wine, aromatic oils and animal fats (Wengrow 18). The illustrations on the seals included depictions of rituals undertaken by human figures and/or allegories using animals. It can be ascertained that the transition in the Victorian Era from heraldry to commerce, from family to corporation, had precedence. By extension, consumers were able to participate in this process of value attribution using brands as signifiers. The principle remained prevalent during the modern and post-modern eras and can be respectively interpreted using structuralist and post-structuralist theory.Totemism to Simulacrum: The Evolution of Advertising from the Modern to Post-Modern Eras In 2011, Lisa Chaney wrote of the inception of the Coco Chanel logo (fig. 8) in her biography Chanel: An Intimate Life: A crucial element in the signature design of the Chanel No.5 bottle is the small black ‘C’ within a black circle set as the seal at the neck. On the top of the lid are two more ‘C’s, intertwined back to back… from at least 1924, the No5 bottles sported the unmistakable logo… these two ‘C’s referred to Gabrielle, – in other words Coco Chanel herself, and would become the logo for the House of Chanel. Chaney continued by describing Chanel’s fascination of totemic symbols as expressed through her use of tarot cards. She also “surrounded herself with objects ripe with meaning” such as representations of wheat and lions in reference prosperity and to her zodiac symbol ‘Leo’ respectively. Fig. 8. No5 Chanel Perfume, released in 1924, featured a seal-like logo attached to the bottle neck. “No5.” Chanel. 25 July 2019 <https://www.chanel.com/us/fragrance/p/120450/n5-parfum-grand-extrait/>.Fig. 9. This illustration of the bottle by Georges Goursat was published in a women’s magazine circa 1920s. “1921 Chanel No5.” Inside Chanel. 26 July 2019 <http://inside.chanel.com/en/timeline/1921_no5>; “La 4éme Fête de l’Histoire Samedi 16 et dimache 17 juin.” Ville de Perigueux. Musée d’art et d’archéologie du Périgord. 28 Mar. 2018. 26 July 2019 <https://www.perigueux-maap.fr/category/archives/page/5/>. This product was considered the “financial basis” of the Chanel “empire” which emerged during the second and third decades of the twentieth century (Tikkanen). Chanel is credited for revolutionising Haute Couture by introducing chic modern designs that emphasised “simplicity and comfort.” This was as opposed to the corseted highly embellished fashion that characterised the Victorian Era (Tikkanen). The lavish designs released by the House of Worth were, in and of themselves, “conspicuous” displays of “consumption” (Veblen 17). In contrast, the prestige and status associated with the “poor girl” look introduced by Chanel was invested in the story of the designer (Tikkanen). A primary example is her marinière or sailor’s blouse with a Breton stripe that epitomised her ascension from café singer to couturier (Tikkanen; Burstein 8). This signifier might have gone unobserved by less discerning consumers of fashion if it were not for branding. Not unlike the Prehistoric Mesopotamians, this iteration of branding is a process which “confer[s]” the “personality” of the designer into the garment (Wengrow 13 -14). The wearer of the garment is, in turn, is imbued by extension. Advertisers in the post-structuralist era embraced Levi-Strauss’s structuralist anthropological theories (Williamson 50). This is with particular reference to “bricolage” or the “preconditioning” of totemic symbols (Williamson 173; Pool 50). Subsequently, advertising creatives cum “bricoleur” employed his principles to imbue the brands with symbolic power. This symbolic capital was, arguably, transferable to the product and, ultimately, to its consumer (Williamson 173).Post-structuralist and semiotician Jean Baudrillard “exhaustively” critiqued brands and the advertising, or simulacrum, that embellished them between the late 1960s and early 1980s (Wengrow 10-11). In Simulacra and Simulation he wrote,it is the reflection of a profound reality; it masks and denatures a profound reality; it masks the absence of a profound reality; it has no relation to any reality whatsoever: it is its own pure simulacrum. (6)The symbolic power of the Chanel brand resonates in the ‘profound reality’ of her story. It is efficiently ‘denatured’ through becoming simplified, conspicuous and instantly recognisable. It is, as a logo, physically juxtaposed as simulacra onto apparel. This simulacrum, in turn, effects the ‘profound reality’ of the consumer. In 1899, economist Thorstein Veblen wrote in The Theory of the Leisure Class:Conspicuous consumption of valuable goods it the means of reputability to the gentleman of leisure… costly entertainments, such as potlatch or the ball, are peculiarly adapted to serve this end… he consumes vicariously for his host at the same time that he is witness to the consumption… he is also made to witness his host’s facility in etiquette. (47)Therefore, according to Veblen, it was the witnessing of “wasteful” consumption that “confers status” as opposed the primary conspicuous act (Han et al. 18). Despite television being in its experimental infancy advertising was at “the height of its powers” during the 1920s (Clark et al. 18; Hill 30). Post-World War I consumers, in America, experienced an unaccustomed level of prosperity and were unsuspecting of the motives of the newly formed advertising agencies (Clark et al. 18). Subsequently, the ‘witnessing’ of consumption could be constructed across a plethora of media from the newly emerged commercial radio to billboards (Hill viii–25). The resulting ‘status’ was ‘conferred’ onto brand logos. Women’s magazines, with a legacy dating back to 1828, were a primary locus (Hill 10).Belonging in a Post-Structuralist WorldIt is significant to note that, in a post-structuralist world, consumers do not exclusively seek upward mobility in their selection of brands. The establishment of counter-culture icon Levi-Strauss and Co. was concurrent to the emergence of both The House of Worth and Coco Chanel. The Bavarian-born Levi Strauss commenced selling apparel in San Francisco in 1853 (Levi’s). Two decades later, in partnership with Nevada born tailor Jacob Davis, he patented the “riveted-for-strength” workwear using blue denim (Levi’s). Although the ontology of ‘jeans’ is contested, references to “Jene Fustyan” date back the sixteenth century (Snyder 139). It involved the combining cotton, wool and linen to create “vestments” for Geonese sailors (Snyder 138). The Two Horse Logo (fig. 10), depicting them unable to pull apart a pair of jeans to symbolise strength, has been in continuous use by Levi Strauss & Co. company since its design in 1886 (Levi’s). Fig. 10. The Two Horse Logo by Levi Strauss & Co. has been in continuous use since 1886. Staff Unzipped. "Two Horses. One Message." Heritage. Levi Strauss & Co. 1 July 2011. 25 July 2019 <https://www.levistrauss.com/2011/07/01/two-horses-many-versions-one-message/>.The “rugged wear” would become the favoured apparel amongst miners at American Gold Rush (Muthu 6). Subsequently, between the 1930s – 1960s Hollywood films cultivated jeans as a symbol of “defiance” from Stage Coach staring John Wayne in 1939 to Rebel without A Cause staring James Dean in 1955 (Muthu 6; Edgar). Consequently, during the 1960s college students protesting in America (fig. 11) against the draft chose the attire to symbolise their solidarity with the working class (Hedarty). Notwithstanding a 1990s fashion revision of denim into a diversity of garments ranging from jackets to skirts, jeans have remained a wardrobe mainstay for the past half century (Hedarty; Muthu 10). Fig. 11. Although the brand label is not visible, jeans as initially introduced to the American Goldfields in the nineteenth century by Levi Strauss & Co. were cultivated as a symbol of defiance from the 1930s – 1960s. It documents an anti-war protest that occurred at the Pentagon in 1967. Cox, Savannah. "The Anti-Vietnam War Movement." ATI. 14 Dec. 2016. 16 July 2019 <https://allthatsinteresting.com/vietnam-war-protests#7>.In 2003, the journal Science published an article “Does Rejection Hurt? An Fmri Study of Social Exclusion” (Eisenberger et al.). The cross-institutional study demonstrated that the neurological reaction to rejection is indistinguishable to physical pain. Whereas during the 1940s Maslow classified the desire for “belonging” as secondary to “physiological needs,” early twenty-first century psychologists would suggest “[social] acceptance is a mechanism for survival” (Weir 50). In Simulacra and Simulation, Jean Baudrillard wrote: Today abstraction is no longer that of the map, the double, the mirror or the concept. Simulation is no longer that of a territory, a referential being or a substance. It is the generation by models of a real without origin or reality: a hyperreal… (1)In the intervening thirty-eight years since this document was published the artifice of our interactions has increased exponentially. In order to locate ‘belongness’ in this hyperreality, the identities of the seekers require a level of encoding. Brands, as signifiers, provide a vehicle.Whereas in Prehistoric Mesopotamia carved seals, worn as amulets, were used to extend the identity of a person, in post-digital China WeChat QR codes (fig. 12), stored in mobile phones, are used to facilitate transactions from exchanging contact details to commerce. Like other totems, they provide access to information such as locations, preferences, beliefs, marital status and financial circumstances. These individualised brands are the most recent incarnation of a technology that has developed over the past eight thousand years. The intermediary iteration, emblems affixed to garments, has remained prevalent since the twelfth century. Their continued salience is due to their visibility and, subsequent, accessibility as signifiers. Fig. 12. It may be posited that Wechat QR codes are a form individualised branding. Like other totems, they store information pertaining to the owner’s location, beliefs, preferences, marital status and financial circumstances. “Join Wechat groups using QR code on 2019.” Techwebsites. 26 July 2019 <https://techwebsites.net/join-wechat-group-qr-code/>.Fig. 13. Brands function effectively as signifiers is due to the international distribution of multinational corporations. This is the shopfront of Chanel in Dubai, which offers customers apparel bearing consistent insignia as the Parisian outlet at on Rue Cambon. Customers of Chanel can signify to each other with the confidence that their products will be recognised. “Chanel.” The Dubai Mall. 26 July 2019 <https://thedubaimall.com/en/shop/chanel>.Navigating a post-structuralist world of increasing mobility necessitates a rudimental understanding of these symbols. Whereas in the nineteenth century status was conveyed through consumption and witnessing consumption, from the twentieth century onwards the garnering of brands made this transaction immediate (Veblen 47; Han et al. 18). The bricolage of the brands is constructed by bricoleurs working in any number of contemporary creative fields such as advertising, filmmaking or song writing. They provide a system by which individuals can convey and recognise identities at prima facie. They enable the prosthesis of identity.ReferencesBaudrillard, Jean. Simulacra and Simulation. Trans. Sheila Faria Glaser. United States: University of Michigan Press, 1994.Burstein, Jessica. Cold Modernism: Literature, Fashion, Art. United States: Pennsylvania State University Press, 2012.Chaney, Lisa. Chanel: An Intimate Life. United Kingdom: Penguin Books Limited, 2011.Christensen, J.A. Cut-Art: An Introduction to Chung-Hua and Kiri-E. New York: Watson-Guptill Publications, 1989. Clark, Eddie M., Timothy C. 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An artful Facebook post after a research event, a spinning circle held at a state heritage listed former mill, is used to explore the intersection of craftivism and the politics around the future of this site. This article takes a new materialism approach to explore the dynamic interactions (intra-actions) and shifting power relations around place (territorialisations). Both the spinning circle and the post were a gentle activism, or as Greer (12) describes it, craftivism, whose essence lies in ‘creating something that gets people to ask questions’. In 2018, I conducted the research event, the Spinning Circle at the Mill, inviting the Spinners, Weavers, and Fibre Artisans of Ipswich group to hold a spinning circle at the former Queensland Woollen Manufacturing Company, now an empty factory space on the state’s heritage list. The event was part of a larger piece of research considering the generative nature of heritage. As the fibre artists worked, we yarned about their connections with the mill-site, its largely female workforce, and imagined what the future might hold for this heritage place. Before the day’s events started, I was busy arranging a table for the morning tea and setting out some artefacts and books that participants had brought. I noticed a few of the fibre artists wandering around the factory with a spinning wheel. I wasn’t quite sure what they were doing, and called them back a couple of times, worried everyone would wander off into the cavernous mill space. They returned, eventually, and we got on with the session. After the event, one artist, Mieke den Otter, shared a post Facebook (see fig. 1). When I saw the post, I laughed out loud – and it has haunted me. Her curation of the text and carefully placed wheel in the post’s photograph negotiated time, space and political boundaries with warmth and humour. Here in the realm of Facebook was a piece of data that “glowed”, exerting “a kind of fascination”, that animates further thought (MacLure 228). Social media posts are performative – they affect. Images created and shared extend what heritage sites can do – provoking, expressing new perspectives, and challenging narratives playfully though art. Posts shift conversations. Fig. 1: Facebook post from the Spinning Circle at the Mill. What does this Facebook post create? What does this assemblage, this intentional cutting-together of [spinning wheel-graffiti – woollen mill heritage – Facebook – photograph – post text] do? Methods, Materialities, and Entanglements This article uses a new materialism methodological framing to consider the dynamics of the events. It draws on Barad’s concepts of agential cuts – the intra-actions of elements cut ‘together-apart’, forming together and separating from others. Barad (Meeting 168) describes the dynamics of intra-actions as diffractions. Diffractions conjure up rippled waves crossing over, each disrupting the other, creating new patterns, the two waves changed and inseparable through the transition and never the same after. Barad’s term ‘intra-action’ considers the changes and inseparability occurring through interactions. Deleuze and Guattari‘s consideration of the dynamism of assemblages is also useful for thinking through craftivism. Their work offers two key pairings here: the interplay of materiality with expression, and the way physical and political territories are inhabited, highlighting the dynamic relations of power (territorialisations) that constantly challenge the boundaries. These views into the data help us discern what craft and craftivism can do, physically and through its presence on social media. We’ll start with the crafters’ physical presence at the mill. Ten members of the Spinners, Weavers, and Fibre Artists of Ipswich participated in the Spinning Circle, plus a Council Heritage officer. Two colleagues assisted me with sound recording and photographs. The event occurred 46 years after the mill closed its doors in 1971, having manufactured textiles for ninety-four years. The event was conducted under ethics approval (GU 2017/763), and I have permission from Mieke to write about her Facebook post. The spinning event at the mill was inspired by the go-along method (Kusenbach), which recognises the potential of accessing lived experiences in situ. The circle could be called a go-along focus group. What I was tapping into was the spinners encountering the empty mill: not their ‘natural environment’ but a space they emotionally connected with through their craft. Some had worked at one of the city’s woollen mills, and all were aware of the mills as part of the heritage of Ipswich. I further drew on the work of Edensor in recognising affects produced by walking through industrial ruins, decentring everyday divisions between past and present. I wanted the spinners to be affected by this unfamiliar space, in helping them consider what the space could be. We started by walking the mill site, becoming absorbed in both its emptiness and the haunting presences as a Council heritage officer and I guided them through the spaces. The two participants who had worked at other Ipswich mills shared some of their stories as we walked. Then the spinners sat in a circle to spin, knit, craft, and yarn, and it became a focus group where we imagined possible mill futures. Weavings and Intra-Actions of an Image The interplay of materiality and expression is a co-functioning of things, relations, languages, words, and meanings (Anderson and McFarlane). The point is awareness of what is being produced and understanding the conditions and intra-actions enabling and embedded in its production. Delving into the materialities draws other “entanglements” (Barad) – influences operating at a distance, often in a different space or temporality. Through entanglements, a complex web of phenomena emerges as elements come together and are set apart. Entanglements may be sensed rather than seen, felt rather than thought. Assemblages and their entities are not static, but act at various intensities and rhythms, affecting each other. Considering these dynamics as intra-actions emphasises that actions affect all that are connected though an event, blurring boundaries: there is no separation. In the Facebook post’s image, the physical spinning wheel has become part of the graffiti and graffiti part of the wheel, intra-acting, changing both, expressing something new. The intra-action extends to those setting up the image, photographing, observing, then the larger audience on Facebook. Affects flow and ripple through intra-actions across time, all the way to writing this article and beyond. The photo composition was purposeful; the position carefully sought out. The spinning wheel in its material expression is a modern tower wheel – compact for travel – and is used by many spinners. It expresses that the craft is alive and well, and its technologies are evolving. The wheel design, while modern, harks back to the seventeenth-century European adaption of this technology and to the cottage manufacture of textiles prior to the industrial revolution. No spinning wheels were present at the Ipswich mills. The industrial spinning mules and frames of the mill were about speed and volume. Hands worked the machines mainly to fix broken threads, not as a creative force as with a wheel, but rather to enable the machines to overcome their mechanical limitations. Bringing the wheels to the factory expresses a playful juxtaposition between manufacturing and crafting. After ceasing operations as a woollen mill in 1971, the building was used as plywood factory (Boral-Hancock Plywood) from 1984 until 2011 – it has been left empty since. Shortly after, the street artists ‘invaded’ creating this extensive graffiti gallery, which includes some standout-art artworks (see fig. 2). The background graffiti in the Facebook post shows a comfy lounge room, with sofa and TV. The graffiti expresses a scene totally anomalous to a hyper-heated, humid, noisy woollen mill or plywood factory. It possibly reflected the artist’s longing for some home comforts. The image also merged the artist’s presence with the graffiti. An earlier Facebook post about the day mentioned the artists seeking shelter and squatting at the mill. Around the factory the occasional cat image appears, just as a cat might. I’m not sure if they are a house cat, or a factory cat to deal with rodents, but they express comfort, and are likely by the same artist (see fig. 3). Fig. 2: An example of the range of graffiti at the mill. Image by Joan Kelly 2018. Fig. 3: An example of a cat drawn at the mill. Image by J. Hanley 2017. The text of the spinning wheel post is also deeply resonant: ‘every home needs a wheel’installation at the Old mill site The post’s text conjures pictures of homes with a spinning wheel at the ready. For a time, in pre-industrial Europe, spinning wheels were a necessary household item for clothing one’s own family and to make a living. Especially in agricultural districts, many families needed a wheel, and spinners worked long hours for economic survival (Pinchbeck). Clearly, today, other than for textile crafters, a spinning wheel is not a general item needed for the home – it’s a poignant joke that is created. Terming the wheel placement “an installation” elevates the assemblage of wheel and graffiti both as serious artwork and a production. Beyond that, the post works as a subtle form of activism. At the time of the visit to the mill, the site was undergoing conservation work and was not available for public use. To be in the space was exceptional: the was asserting the artist’s presence and staking a claim to the territory on behalf of the artists of Ipswich. Re/De-Territorialisations Territorialisations are the dynamics of the shifting boundaries of belonging and exclusion, power and subversion. Every assemblage carves out territory from the milieux, in this case the physical mill space, its former use as a textile mill, the circle participants and its physicality: to understand the assemblage is to understand the territoriality it envelops (Deleuze and Guattari). The former mill site is a politically contentious place. The mill was acquired by Ipswich City Council in 2015 (Queensland Government). The large riverside lot is close to the CBD, and adjacent to a sports field. The site was designated as a youth recreation centre in Council’s Open Space Strategic Master Plan (Ipswich City Council). Previously, the former mayor had promised the space as an arts hub (Queensland Times). However, by the time of our spinning circle, the mayor was up on corruption charges (Snowdon and Walsh), the whole council was under administration (Johnson), and the site was in a state of stasis. Based on conversations and gatherings, to this day the arts community claims the mill space as theirs despite Council reallocations. They want an arts hub, and they want it at the mill. Through the forces of re-territorialisation and de-territorialisation, assemblages change as elements, forms, and structures materialise and recede (Duff). The mill territory has suffered many disruptions. Re-territorialisation is the action by the owner, or holder of power in a space, to manage or reaffirm control. DeLanda uses the term ‘stabilisation’ but, depending on context, other terms can assist to understand re-territorialisation: take possession, colonisation, exert power over. The mill is currently Council territory by ownership, and Council’s activities of re-territorialisation – maintaining the territory, are planning, maintenance, and heritage conservation work. The added complexity in ownership at the time of the research event was that Council had itself been re-territorialised by the State Government administrators, however it still acts as the ‘Council’ entity. De-territorialisation is the disruptive action by those dominated, marginalised, or excluded in their efforts to exert a different kind of power. DeLanda terms this ‘destabilisation’, and other words might be to agitate, unsettle, upset, reclaim. These acts are not necessarily done by a unified group, and the array of elements acting can change the nature of destabilisation. At the mill, different community groups were interested in this territory, including street artists, crafters, and performing artists. The mill graffiti covering the walls are also de-territorialisations, attempting to take control of a space. The spectre of the street artists was a persistent backdrop to all activities on the day. Graves-Brown and Schofield discuss how the graffiti in a heritage site linked to the Sex Pistols punk band conjures a feeling of the band members’ presence as unruly ghosts, lounging on sofas, scribbling on walls. At the mill site, the street art at times overpowers. The emptiness of the factory floor accentuates both their art and the artists’ missing presence. There was even an alcove where spray cans were left on a ledge (see fig. 4). It gave a sense of having disturbed their workspace and that they had hastily run off. But who are the intruders here? Whose territory is this space? Considering the dynamics of territorialisations opens the politics of place, and contentions of ownership. It’s as if there is always some residue of past territorialisations, ready to be tapped, as the Facebook post has done. Fig. 4: Spray cans in an alcove at the mill. Image by Joan Kelly 2018. In the mill’s time of abandonment (2011–2015), the street artists had managed to not only disrupt and de-territorialise the factory, but had re-territorialised the space completely, in a sense owning it; their presence more pervasive than the former workers, and, for now, more enduring. The creation of the image was an intra-action turning the lounge graffiti into a different piece of art, and through the Facebook post, it became an act of craftivism and poetry. The spinning wheel installation at the mill was a clear act of de-territorialisation, through expressing, ‘I was here’: I was here as a crafter, and member of the arts community, and I created an art installation. All this was expressed with a ‘soft voice’ through materiality, images, and words, in a clever, artful, ‘craftivistic’ way. During the spinning circle (see fig. 6), conversations arose about others who shared the mill territory. That we were meeting on Aboriginal country of people of the Yagara/Yugara Language Group (the Jagera, Yuggera, and Ugarapul People), land re-territorialised by European colonisers was acknowledged. Given the long history of First Nations peoples in the area, little is known of the textiles that were created. However, we discussed the kinds of Indigenous textiles that might have been made locally, as well as the skills that the Pacific Islander migrants of recent times have brought to Ipswich. The spinners imagined creating a dyers’ garden outside the mill. They evoked the excitement of dyeing days, “whenever you are walking you are gathering”, “always looking down”, and using the incredible range of colours available from indigenous plants. Entanglements across time emerged: plants and dye making connect the here and now with makers in the past, and different places. Discussions also focussed on the workers, particularly the large female workforce, and ways to honour their stories through a combination of museum and textile arts of various forms, including manufacturing and hand crafts. Fig. 5: The Spinning Circle focus group. There are often competing urges to de-territorialise heritage. Many will claim a place as their heritage – to emphasise their story, or perhaps transport it into the present. In the case of the mill site, Council mostly dominates, although as a state heritage site, there are territory boundaries between Council and the Queensland government. The graffiti here will be tolerated as far as those who own the territory will allow it. Eventually wall territory will be reclaimed from the street artists in making room for the new. At the time of writing, it had started to happen already. Many of the internal walls from the plywood factory time have been removed, including the image of sofa, lamp, and TV. It is no more. The spray cans have been binned. It makes the Facebook post even more haunting. There is still an overwhelmingly large graffiti presence, but it is already starting to feel contained, edited down. The arts community, though, are committed to making the space their own. Those who worked there have little voice, possibly none in the mill's becoming, however there is a sense of deep community respect for the workers and these places of work. Conclusion The spinning wheel Facebook post embraced craft, heritage and art. Considering a social media post as an assemblage, emphasising intra-actions highlights the temporality of relations between bodies and things. Their forms, and what they express, accentuate the fragility through a moment captured in time. The re-territorialisations and de-territorialisations of the mill offer perspectives on what is being produced, recognising the forces at play. The mill site itself can be read in terms of the changes in territorialisations, and its dynamism over time: woollen mill company – plywood company – street artist domain – Council site being conserved – spinning circle (for the day) – Facebook post in moments of sharing – community mill sentiments. These are also entanglements of the site – influences at a distance and through different temporalities. The street artists initially were de-territorialising, disrupting the narrative of the mill, and for a year or two made it their own. Their enduring artwork helped engage the local arts community in claiming the mill spaces as their territory also; for a time capturing the political will of the Council’s former mayor. As the mayor’s fortune faded, so too did the hold over the territory by the arts community, the mill now re-territorialised by budgets and other priorities. Yet members of the arts community are determined to push their claims for the space. Coming together with the Ipswich spinners in situ as a research activity produced an embodied understanding through walking and yarning and feel for the space and its connections. The spinners owned the mill space for a few hours, bringing with them the sense of awe about the empty place and the richness it engendered. Their engagement with the space in situ and online served, for a time, to de-territorialise the space, plying threads from past and present with imaginings for the mill’s future. The Facebook form of craftivism, captured by the image and text of the post, seemed a natural progression from the day, a further disruption of the narrative. In determining potential futures for this space that are invigorating and respectful, Council will need the engagement of the myriad communities – the Yagara people, the former mill workers and former plywood workers connected to the site through often significant periods of employment, and communities of interest in Ipswich, like the Spinners and Weavers, who can bring new energy to the space. The future of the mill requires drawing together a living community that can bring the space to life. This Facebook craftivism is one provocation of a complex reimagining of the mill’s heritage futures – it’s a wave, small but able to diffract and create new patterns of conversation. References Anderson, Ben, and Colin McFarlane. "Assemblage and Geography." Area 43.2 (2011): 124-27. Barad, Karen. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke UP, 2007. ———. "Diffracting Diffraction: Cutting Together-Apart." Diffracted Worlds – Diffractive Readings 18 Oct. 2018: 4-23. DeLanda, Manuel. A New Philosophy of Society: Assemblage Theory and Social Complexity. Hampshire: Continuum, 2006. Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: U of Minnesota P, 1987. Duff, Cameron. "Assemblages, Territories, Contexts." International Journal of Drug Policy 33 (2016): 15-20. Edensor, Tim. "Walking through Ruins." Ways of Walking: Ethnography and Practice on Foot. Eds. T. Ingold and J.L. Vergunst. UK: Ashgate Aldershot, 2008. 123-42. Frederick, Ursula K. "Revolution Is the New Black: Graffiti/Art and Mark-Making Practices." Archaeologies 5.2 (2009): 210-37. Graves-Brown, Paul, and John Schofield. "The Filth and the Fury: 6 Denmark Street (London) and the Sex Pistols." Antiquity 85.330 (2011): 1385-401. Greer, Betsy. Craftivism : The Art of Craft and Activism. 2014. Johnson, Hayden. "Ipswich Crisis: Councillors Stunned by News of Dismissal." The Queensland Times 4 May 2018. Ipswich City Council. Open Space Strategic Master Plan. Ipswich: Ipswich City Council, 2018. Kusenbach, Margarethe. "Street Phenomenology: The Go-Along as Ethnographic Research Tool." Ethnography 4.3 (2003): 455-85. MacLure, Maggie. "The Wonder of Data." Cultural Studies? Critical Methodologies 13.4 (2013): 228-32. McIvor, Lachlan. "Woollen Mills Unused Six Years after Council Purchase." Queensland Times 19 Feb. 2021. Pinchbeck, Ivy. Women Workers and the Industrial Revolution. New York: F.S. Crofts, 1930. Queensland Government. "Queensland Heritage Register." Brisbane: Queensland Government, 2016. Queensland Times. "Mayor to Activate Arts Hub." Queensland Times 18 Mar. 2016. Snowdon, T., and L. Walsh. "Paul Pisasale Charged with Corruption, Possession of Sex Drug." Courier Mail 11 Oct. 2017.

A pillar of radical activism in nineteenth-century America, Amy Kirby Post (1802–89) participated in a wide range of movements and labored tirelessly to orchestrate ties between issues, causes, and activists. A conductor on the Underground Railroad, co-organizer of the 1848 Rochester Woman’s Rights Convention, and a key figure in progressive Quaker, antislavery, feminist, and spiritualist communities, Post sustained movements locally, regionally, and nationally over many decades. But more than simply telling the story of her role as a local leader or a bridge between local and national arenas of activism, Nancy A. Hewitt argues that Post’s radical vision offers a critical perspective on current conceptualizations of social activism in the nineteenth century. While some individual radicals in this period have received contemporary attention—most notably William Lloyd Garrison, Frederick Douglass, and Lucretia Mott (all of whom were friends of Post)—the existence of an extensive network of radical activists bound together across eight decades by ties of family, friendship, and faith has been largely ignored. In this in-depth biography of Post, Hewitt demonstrates a vibrant radical tradition of social justice that sought to transform the nation.

Amy Post remained active in numerous causes until her death in 1889. These included women’s rights, women’s suffrage, and spiritualism as well as new organizations devoted to industrial workers and to religious liberty and free speech. The last issues were addressed by the National Liberal League, for which Amy served as a founding officer. Although Post suffered a variety of ailments in later life, she regularly attended Progressive Friends’ meetings and other conventions, hosted lecturers in her home, joined spiritualist circles, and continued her friendships with Nell, Jacobs, Truth, Douglass, and other early co-workers. Post was also honored at woman’s rights anniversary celebrations. Her son Willet joined her in many activities, and her sister Sarah, her children and grandchildren provided joy and solace. Amy mourned the deaths of many fellow activists, and when she died in 1889, the Frederick Douglass League of Rochester, spiritualists, radical Quakers, friends and family gathered to celebrate her life. Although well-known in her time, Post’s activism and her broad vision of social justice slowly faded from memory. The Post Family Papers bring her social justice legacy and her diverse circle of friends and co-workers vividly back to life.

Abstract Abbey Theatre Repertory playhouse in DUBLIN associated with the IRISH LITERARY REVIVAL. In 1904, Miss Annie Fredericka Horniman, an Englishwoman and friend of the poet and playwright William Butler YEATS (one of its first co-directors), financed the reconstruction of the then unoccupied Mechanics’ Institute, located in Abbey Street. It was intended to serve as the home for the Irish National Theatre Society, founded in 1902 as a successor to the IRISH LITERARY THEATRE established by Yeats, Lady Augusta GREGORY and Edward Martyn in 1899 to promote Irish drama. On 27 December 1904, the Abbey Theatre opened with three one-act plays: Yeats’s On Baile’s Strand and Cathleen ni Houlihan and Lady Gregory’s Spreading the News. Exiles, Joyce’s only extant play, was rejected by Yeats in August 1917, because it did not evoke Irish folk drama and was not the type of play that Yeats believed could be performed well by the company. To date, Joyce’s play has never been performed at the Abbey.