Artykuły w czasopismach na temat „Character misrepresentation”

The tort of passing off developed as an offspring of deceit, with the twist that it allows trade rivals, rather than deceived customers, to sue. The classic case is a trader ‘passing off his goods as the goods of somebody else: the defendant is liable for misrepresenting, innocently or otherwise, that his goods are the goods of somebody else. The plaintiff is the trader whose trade is thereby diverted or whose reputation is thereby harmed.The classic case thus involves a misrepresentation as to the source of the goods. However, case law has shown that this is not the only relevant misrepresentation on which the tort can be founded

AbstractWomen engage in a variety of beauty practices, or “beauty work,” to enhance their physical appearance, such as applying cosmetics, tanning, or exercising. Although the rewards of physical attractiveness are well documented, perceptions of both the women who engage in efforts to enhance their appearance and the high-effort beauty products marketed to them are not well understood. Across seven studies, we demonstrate that consumers judge women who engage in certain types of extensive beauty work as possessing poorer moral character. These judgments occur only for effortful beauty work perceived as transformative (significantly altering appearance) and transient (lasting a relatively short time), such that they emerge within cosmetics and tanning, yet not skincare or exercise. This effect is mediated by the perception that putting high effort into one’s appearance signals a willingness to misrepresent one’s true self, and translates into lower purchase intentions for higher-effort cosmetics. We identify several boundary conditions, including the attractiveness of the woman performing the beauty work and whether the effort is attributed to external norms or causes. In examining how beauty work elicits moral judgments, we also shed light on why effortful cosmetic use is viewed negatively, yet effortful products continue to be commercially successful.

William Cobbett was, during his own lifetime, a highly controversial figure who often found it necessary to defend himself against supposed misrepresentation. His historical persona remains no less controversial. The complexities of Cobbett's career and character have supported a variety of interpretations, and many writers this century have felt the need to define ‘the real Cobbett’. Modern misrepresentations have arisen less from false stories invented to damn him than from the misleading emphases employed to praise him, with both Left and Right seeking in their different ways to appropriate what they see as his legacy. For conservatives, he has been an essentially timeless figure, standing for Old England and all that may have made such a place great. Writers on the Left have treated him rather as a figure of the past, rationalised to fit into the rise of working-class consciousness and organisation, and divested of some aspects unseemly in an early representative of ‘the cause’. Cobbett has been adopted as an important figure for the Left, but readings based on the assumptions about working-class radicalism held by the modern British Labour movement have often found it necessary to exclude aspects of his writings as inconsistent, or at least idiosyncratic.

This article analyzes the discourse of Orientalism in Saladin: The Animated Series for the first episode entitled Rising Star. Edward Said (1978) in his book Orientalism: Western Conceptions of the Orient (1978) opposed Western perspectives on the East and analyzed postcolonial literary works in historical and social contexts, and describes orientalist discrimination in speculating and specifying data sources for particular interests. This study draws on a series of animations directed by Steve Bristow that showcased the leading Islamic figure of the crusade, Sultan Salahuddin al-Ayubi (1137-1193) or known as Saladin by the Western world. Taking the personality of an Islamic character to be the main character in the animated series is something to be proud of, but the fact about Sultan Salahuddin al-Ayubi’s personality has been distorted in Saladin’s character. This study looked at the orientalist attacks on the personality of Sultan Salahuddin al-Ayubi and found that the Saladin’s character was portrayed as physically weak, shallow-minded, and disobedient to his father. The whole of this first episode shows the misrepresentation of facts and the distortion of the image of Salahuddin al-Ayubi.

Purpose Social justice themes permeate the social studies, history, civics, and current events curricula. The purpose of this paper is to examine how non-fiction trade books represented lesbian, gay, bisexual, transsexual, transgender, and queer (LGBTQ) individuals and issues. Design/methodology/approach Trade books published after 2000 and intended for middle grades (5-8) and high school (9-12) students were analyzed. Findings Findings included main characters’ demography, sexuality, and various ancillary elements, such as connection to LGBTQ community, interactions with non-LGBTQ individuals, the challenges and contested terrain that LGBTQ individuals must traverse, and a range of responses to these challenges. Publication date, intended audience, and subgenre of non-fiction – specifically, memoir, expository, and historical text – added nuance to findings. Viewed broadly, the books generally engaged in exceptionalism, a historical misrepresentation, of one singular character who was a gay or lesbian white American. Diverse sexualities, races, ethnicities, and contexts were largely absent. Complex resistance structures were frequent and detailed. Originality/value This research contributes to previous scholarship exploring LGBTQ-themed fiction for secondary students and close readings of secondary level non-fiction trade books.

ABSTRACTInvited in 2011 by Robert Sholl and Sander van Maas to contribute to a proposed symposium on the spiritual in late twentieth-century music, I accepted, not because I agreed with the project and its aims, but to defend Stockhausen's character and reputation from convenient misrepresentation. Sin and virtue, spirituality and the spiritual life ask to be addressed in terms of actual works and personal witness – in my own case, not least given the composer's complaint late in life: ‘You have to watch out for Maconie's nihilism’. The test of spirituality inevitably entails scrutinizing the motives of former Stockhausen disciples who changed their minds, among them two English composers of my own generation, Jonathan Harvey and John Tavener, who have since passed away. In 2014 the opening sentence of the present paper provided theologian and Stockhausen-forum editor Thomas Ulrich with an amusing starting-point (‘Suffering? How very Protestant!’) for just the second of a trickle of online discussions of largely pathetic inconsequence.

The article analyzes the reasons and character of historical and literary milestone change, which was fulfilled within the framework of Russian religious philosophy and literary studies of the 1920s. Literary and philosophical criticism of the Silver age made the creative works of Fyodor Dostoevsky the main subject of its interest and it predetermined the content of the literary criticism concepts of B.Engelhardt and M.Bakhtin, who influenced the following literary criticism to great extent. It brought some misrepresentation to the literary process interpretation of the second part of the 19 century, which still influences the university and school literature courses of the period. In particular the religious and philosophical studies and works of the 1910-1920s based on them broke the ideological and aesthetic connection between the creative works of Dostoevsky and Turgenev, the polemical character of Dostoevsky’s works concerning Turgenev was ignored. The article rebuilds the second half of the 19th century’s literary process logic, the consequence of Turgenev’s ideological novel and only after it, in connection with it and mainly in polemic with it - the ideological novel by Dostoevsky. The presumed comparison of the two genre modifications of the ideological novel allows to depict their common features on the one hand and on the other - the principal differences, aesthetic specificity, predetermined by the particular features of the artistic vision and strategies of Turgenev and Dostoevsky.

This paper aims to contribute to debates about ‘mass supervision’ by exploring its penal character as a lived experience. It begins with a review of recent studies that have used ethnographic methods to explore how supervision is experienced before describing the two projects (‘Supervisible’ and ‘Mass Supervision: Seen and Heard’) on which the paper draws, explaining these as an attempt to generate a ‘counter-visual criminology’ of mass supervision. I then describe two encounters with ‘Teejay’; encounters in which we explored his experiences of supervision firstly through photography and then through song-writing. Both media are presented alongside Teejay’s commentary on what he sought to convey, inviting the reader to engage with and interpret the pictures and song. In the concluding discussion, I offer my own analysis, arguing that Teejay’s representations suggest a need to recognize mass supervision as ‘Maloptical’ as much as ‘Panoptical’. Through the ‘Malopticon’, the penal subject is seen badly, is seen as bad and is projected and represented as bad. Experiences of misrecognition and misrepresentation constitute significant yet poorly understood pains of supervisory punishment. The paper concludes by suggesting several ways in which a counter-visual criminology might follow Teejay’s lead in exposing and challenging of mass supervision.

Purpose – The purpose of this paper is to broaden the discussion on trade-based money laundering (TBML). The literature is too narrowly focused on the misrepresentation of the value, quantity or quality of the traded goods. This focus leads to the analysis of price anomalies as a signal of over- or under-invoicing. However, TBML can also occur without manipulation of these factors. Design/methodology/approach – A review of the literature and case study of police investigations. Findings – Financial action task force (FATF) definitions are seriously flawed. The question of whether detecting TBML on the basis of statistical trade data is effective should be much more open to debate. Police investigations show that goods are shipped at their true value within the context of TBML. Research limitations/implications – Using outliers to identify and act on cases of TBML has often been propagated, but scarcely been used to actually show TBML. Real findings are needed. Practical implications – Goods intended for TBML can also be paid for in cash. These cash payments are often out of character with the normal clientele. This should alert companies and compliance sections of banks alike. Originality/value – The critique on the FATF definition opens the field for a more fitting definition. The description of actual TBML cases makes it possible to better understand this method of money laundering.

The Jasenovac Concentration Camp, run by the Ustashas in the ISC from 1941 to 1945, was the largest human slaughterhouse in the Balkans and one of the biggest concentration camps in Europe in the Second World War. In was where the crime of genocide was committed in the most cruel fashion against 800 000 Serbs, 40 000 Jews and 60 000 Roma, as well as the murder of around 4000 Croat, 2000 Slovene and 1800 Muslim antifascists. The terrible crimes of genocide were documented by local as well as foreign historical sources and even the very participants in the events. Recently, we have been witnesses to the daily falsifying of not only the number of Jasenovac victims but also the character of the camp itself by Croatian historians and statesmen. Their aim is to redefine the fascist past of Croatia in order to avoid having to face the crime of genocide committed against Serbs not only in the so-called Independent State of Croatia [ISC] (1941-1945) but also during the so-called Homeland War (1991-1995). This presents a very clear danger for the future of so-called Independent State of Croatia (ISC). Also misrepresented is the nature of the camp itself, which is falsely defined as a labor camp or even holiday camp. Amongst others, the persons involved in this altering of facts are: Ivan Supek, Academy member, Josip Pečarić, Academy member, Prof. Stjepan Razum, Igor Vukić, Mladen Ivezić, Franjo Kuharić, the Society for the Study of the Jasenovac Triple Camp [Društvo za istraživanje trostrukog logora Jasenovac], Dr Franjo Tuđman and Stjepan Mesić. The first and greatest distortion of the number of victims and the character of the camp was performed by Dr Franjo Tuđman, who established the foundations for this in his works, and in particular in his book Wastelands of Historical reality. The aim of these falsifications is a redefining of the fascist past of the country, the misrepresentation of fascists as antifascists and antifascists as fascists. All of this represents a serious danger for the future of Croatia, which is failing to come to terms with the past and refusing to condemn the all of the crimes committed, including genocide. Croatia today, an independent and democratic country, is showing signs of Ustasha tendencies, much like those seen in Pavelić's ISC. It is necessary to face this fact and the sooner it is done, the better it will be for the people of the Republic of Croatia.

Objective:To determine the representation of Tourette Syndrome (TS) in fictional movies and television programs by investigating recurrent themes and depictions.Background:Television and film can be a source of information and misinformation about medical disorders. Tourette Syndrome has received attention in the popular media, but no studies have been done on the accuracy of the depiction of the disorder.Methods:International internet movie databases were searched using the terms “Tourette’s”, “Tourette’s Syndrome”, and “tics” to generate all movies, shorts, and television programs featuring a character or scene with TS or a person imitating TS. Using a grounded theory approach, we identified the types of characters, tics, and co-morbidities depicted as well as the overall representation of TS.Results:Thirty-seven television programs and films were reviewed dating from 1976 to 2010. Fictional movies and television shows gave overall misrepresentations of TS. Coprolalia was overrepresented as a tic manifestation, characters were depicted having autism spectrum disorder symptoms rather than TS, and physicians were portrayed as unsympathetic and only focusing on medical therapies. School and family relationships were frequently depicted as being negatively impacted by TS, leading to poor quality of life.Conclusions:Film and television are easily accessible resources for patients and the public that may influence their beliefs about TS. Physicians should be aware that TS is often inaccurately represented in television programs and film and acknowledge misrepresentations in order to counsel patients accordingly.

In Ghanaian culture a name could tell the story of when a person is born, how the person is born or some special event at the time of their birth. However, difficulties in pronunciation, as well as misinterpretation of local names by the then colonial masters resulted in alterations of many local names to the convenience of the British and Portuguese, resulting in evolution of some local names over the years to new pronunciations and spellings. During colonial dominance and immediate post-colonial period, some renowned Ghanaian playwrights used names that reflect this confusion and consequently imbedded in their characters, traits that depicted such misrepresentations as well as the specific roles the playwright assigned them. This paper reflects on the character names in relation to the settings in selected Ghanaian plays and how these characters reveal Ghanaian naming philosophies in the ways these characters play their roles. The focus is on, but not limited to, playwrights such as Kobina Sekyi, Ama Ata Aidoo, J.C. deGraft and F.K. Fiawoo who seem to be enduring points of reference particularly when one appreciates the reasoning that informs how they craft their characters, courtesy the curiously noteworthy names they drape them in. The discussion is preceded by deliberations on the indigenous naming, names and their significance furthering on the colonial influence and attempts to Europeanize.

In this paper, I will explore how the work of Wallace Stevens constitutes a phenomenology that resonates strongly with that of William James. I will, first, explore two explicit references to James in the essays of Stevens that constitute a misrepresentation of a rather duplicitous quote from James’ personal letters. Second, I will consider Stevens’ little known lecture-turned-essay, “A Collect of Philosophy,” and the (conventional) poem, “Large Red Man Reading,” as texts that are both about a conception of poetryphilosophy as well as being performances of poetry-philosophy. Finally, I will compare James’ and Stevens’ thought on the imagination, highlighting both form and content and the poetic-philosophical union or blend that makes possible (or virtual) those similarities.

Service work is often (mis)represented within western sociology through hyperbolic language, as its increasing incidence and changing character is seen as symptomatic of profound social change. This paper argues that many recent empirical investigations into, and the dominant representations of, the service encounter (employment involving employee-customer interaction which is represented as a particularly ‘new’ form of work) exaggerate its novelty as ‘cultural’ work. Through a critical analysis of some recent empirical accounts of the service encounter and drawing upon one example from the author's own ethnographic research into service encounters within north- eastern England, it is argued that the dominant representations over-emphasise the cultural, and underplay both the economic and gendered, dynamics of the employment experience. More specifically, we argue that it is the active combination of ‘the economic’ and ‘the cultural’ - the way in which gendered demands for employees to develop particular norms, values, personalities and identities are embedded within inequitable economic relationships - which can shape the employment experience of service employees. Dominant representations of the service encounter also reject the contemporary relevance of ‘traditional’ industrial sociological analyses of employment relations. However, given the weak empirical foundations of ‘the cultural turn’, we argue that this contention cannot be supported. In fact, it is suggested that many ‘traditional’ industrial sociological analyses precisely examine the interplay between economic, gendered and cultural relations and therefore continue to have relevance for understanding contemporary employment. Finally, our arguments are located within debates about the cultural turn within the wider sociological discipline.

Megan Backus’s English translation of Kitchen is notable for being both a critical and commercial success. Critics have praised its readability but noted that its translation strategy is foreignizing. Although its cover designs have not been discussed in relation to domestication and foreignization, the strategies are worthy of mention, because they have huge implications for the symbolic representation of marginalized cultures and dominant counterparts. The American publisher Grove Press uses a foreignizing strategy which succeeds in producing an intelligible image of the Oriental novel which at the same time appeals to readers, and the design accelerated the popularity of this novella in the US. In contrast, the first UK edition uses a photograph of a weeping geisha, even though the main character is a young Americanized Japanese woman. Most importantly, there are no geishas anywhere in this story. The cover may seem foreignizing at first glance, but is in fact, obviously domesticating. This design fits the stereotyped mould of what Westerners regard as “a typical Japanese image,” completely unrelated to the content. This paper investigates how Kitchen has been represented in Western countries, with a focus on the cover designs of the translations.

To continue refuting Ruth Bettina Birn’s specific falsehoods point bypoint is to feed the charade that she is engaged in a scholarly discussion.Thirty examples (many containing multiple instances) of herfabrications, which I have documented in “The Fictions of Ruth BettinaBirn” should be sufficient to establish this. Nevertheless, just soothers cannot say that I have not responded to them, an addendumto this article taking up her individual misrepresentations, as well asmy original reply, can be found on the Internet at goldhagen.com.Here I will briefly put Birn’s commentary in its appropriate generalperspective, so that people may know what she is up to: attackingmy book and my character by ascribing to me views and ideas thatare the opposite of my own.

The current study is an attempt to critically analyze the role and politics of voice in Khaled Hosseini's The Kite Runner and A Thousand Splendid Suns in terms of categorical and stereotypical representation of the Pashtuns. It is a critical discourse study (Norman Fairclough, 1989, 2018) of the selected data. Moreover, the data is viewed from the perspective of critical discourse studies. The novels under study are polyphonic in nature, and the characters belong to various Afghan ethnic backgrounds, like the Pashtuns, the Tajiks and the Hazaras. The study concludes that the novelist's choice of the characters with their respective voices and the roles assigned to them are political, ideological and somewhat biased. The Pashtuns have been stereotypically represented by categorizing them as the social, well-educated and more or less liberal Pashtuns, the tribal and traditionalist Pashtuns, extremist and fundamentalist Pashtuns, like Taliban. Misrepresentation of the tribal and fundamentalist Pashtuns as racists, ethnic nationalists, ideologists, sexists, exclusionists, traditionalists and power-abusers is indicative of the novelist's biasedness and exaggeration.

AbstractWe reply in this article to Kehinde Olabimtan's polemical response to our article, 'Is Africa Incurably Religious?: Confessing and Contesting an Invention' [of Tradition], both published in this journal in 2003. We first review the setting of this exchange: the theological character of the journal Exchange, and then point to Olabimtan's strategy of polemically presenting our analysis in the terms of the old 'war' between atheist and religious scholarship on religions. Having carefully summarised the 'weapons' he used in his 'counter-attack' on our analysis, we dispassionately respond to them by pointing out first that our analysis was not inspired by an atheist approach to religions, but by methodological agnosticism, and then reply to Olabimtan's other misrepresentations of us and of p'Bitek. We conclude by pointing to the 'bridges' between his and our approaches, which Olabimtan did not explode.

Abstract Some theorists on literary interpretation have suggested a connection between Monroe C. Beardsley’s anti-intentionalism and hypothetical intentionalism based on an implied author. However, a full exploration has never been attempted. I undertake this task in this paper. A close reading of Beardsley reveals that he assumes something very similar to the implied author in interpretation. I distinguish five types of fictional works in terms of their narrative mode and show that my claim stands in at least four of the five types. The significance of my argument lies in exposing the above version of authorism in anti-intentionalism. Beardsley is generally perceived as advocating the irrelevance of authorial intention to literary interpretation. The common interpretation of his theory is that work-meaning is generated by linguistic conventions, with intention playing no role in meaning-determination. All the interpreter needs is knowledge of public, linguistic conventions in order to recover textual meaning. Nevertheless, when dealing with the problem of interpretation, Beardsley explicitly talks about attributing textual meaning to a fictional speaker. Although he does not elaborate on the nature of this speaker, clues scattered in his writings point to the striking similarity of this theoretical apparatus to an implied author. The key lies in his presumption that every fictional work must have an ultimate speaker to whom meaning inferred from the text should be attributed. This claim is almost the core of an implied author theory of interpretation. A difficulty in classifying Beardsley’s view as a version of the implied author position is that his characterization of the story’s presenter might apply better to the story’s narrator than to its implied author. To test this, I examine different types of narrative modes to see whether the fictional speaker merges with the implied author in each of these scenarios. The first factor to consider for classifying narrative modes is whether the narrator’s presence is explicit or implicit. The narrative scenario in which the narrator is implicit can be further divided into two sub-types: either the story is told from an omniscient viewpoint or centers on the experience of a third-person character. In either case, the story is not told by any of the characters in the story; rather, it is told by an implicit speaker whose words the work purports to be. It seems reasonable to identify this fictional speaker with the implied author, for both function as the subject to which textual meaning is attributed. As for the narrative mode in which the narrator is explicit, this involves first-person narratives. In these, either the narrator is reliable or unreliable. When the narrator is unreliable, a transcendental perspective is required in determining the text’s meaning, because what is said ultimately in the work is not equivalent to what is literally said by the unreliable narrator. It follows that an implicit speaker has to be assumed and she again coincides with the implied author. Where the narrator is reliable but textual meaning transcends what is literally expressed, an implicit speaker is at play again. This narrative scenario is thus better classified as a case in which the narrator’s presence is implicit. This leaves us with the narrative scenario in which the narrator is a reliable spokesperson for the implied author. The identification of the narrator with the implied author in the case last mentioned is controversial. The crucial difference between them is that the former is dramatized in the story while the latter is not. I accept that the narrator here is not happily called an implied author, though I also point out several similarities between the two. Finally, I discuss four complications to my argument. The first concerns multiple points of view in a story. To accommodate this kind of narrative, Beardsley could argue that an implicit narrator is needed to explain the definite meaning concealed behind what is literally said by different characters. The second complication is about the ontological status accorded to the narrator and the implied author. It might be objected that the two reside in different fictional worlds and this is what makes their merging impossible. But it is questionable whether this is a definitional feature of the implied author; moreover, the interpreter can take the implied author to be an instrumentalist concept and hence avoid talk about the ontological status of fictional entities. The third complication claims that versions of the implied author position developed by philosophers tend to be based on a contextualist ontology of literature; however, Beardsley’s account is acontextual. This is not true, for Beardsley has exhibited contextualist leanings in his writings. Finally, it has been objected that the formalist resources Beardsley has are not enough to guarantee a single right interpretation. But if Beardsley is actually a contextualist, contextual constraints will come into play and raise the chance of getting a single right interpretation. The article concludes by reflecting on the significance of the misrepresentation of anti-intentionalism: it is the intention of the actual author which anti-intentionalism is against. The position in question is actually developed in an intentionalist framework based on the implied author.

This article explores the potential of entertainment media as a platform for challenging monolithic conceptions of national identity. Discussions about immigration in Germany usually concentrate on what minority communities need to do in order to become integrated, but neglect to consider how normative Germans must renegotiate German identity to include immigrants and minorities. German-language television often reinforces cultural divides through underrepresentation or stereotypical misrepresentation. However, several recent productions have sought to change German television by bringing normative audiences into the liminal space of transcultural Germany. In particular, two Turkish-German family comedies broke new ground with high-quality scripted narratives, distinct from the popular skit-based ‘ethno-comedies’ that began to appear in the 1990s and are still popular today. The more capacious story-telling space of scripted series is well-suited to developing complex characters. In particular, family series are studies in the tensions surrounding difference in community, with the distinct personalities of members responding differently to the same framing conditions. This article analyzes the characters and narratives of these programs in conjunction with their circulation in the public sphere to argue that family comedies provide forums for intercultural negotiation, even as they may risk reifying the stereotypical representations they seek to undermine.

Abstract Arab-American women’s literature has emerged noticeably in the early years of the 21st century. The social and political atmosphere in post-9/11 America encouraged the growth of such literature and brought it to international attention. This diasporic literature functions as a means of discussing the Orientalist discourse that circumscribes Arab American identity and its effects in determining their position in the wider American society. As such, this article investigates the extent to which Edward Said’s discourse of Orientalism is employed by Mohja Kahf in her novel The Girl in the Tangerine Scarf (2006) to project the stereotypes and misrepresentations that confine the identity of Arab and Muslim characters in the US society. This article suggests that post-9/11 Arab American fiction serves as a literary reference to such stereotype-based discourse in the contemporary era. The arguments in this article, while employing an analytical and critical approach to the novel, are outlined within postcolonial and Orientalist theoretical frameworks based on arguments of prominent critics and scholars such as Peter Morey, Edward Said, and Jack Shaheen, to name just a few.

In South Park’s “Going Native,” the white character Butters becomes inexplicably angry only to uncover that his family contends the anger is “biologically” caused by their “ancestral” belonging to Hawai‘i. He then travels to Kaua‘i to resolve this anger by connecting with his “native” home. To parody the materiality of white settlers playing and going native, Butters is represented as “native Hawaiian.” This parody functions as a satire to ridicule and criticize settler colonialism in Hawai‘i. Yet, it does so by distorting, dismembering, and erasing Hawaiian Indigeneity. By deploying an Indigenous-centered approach to critical theory, I analyze South Park’s “Going Native” as a popular culture satire to make three arguments. First, “Going Native” produces Indigeneity in racialized, gendered, and sexualized (mis)representations. The representations of “native Hawaiians” recapitulate marginalizing misrepresentations of Native Hawaiians, which inverts the parody. Second, as the parody breaks down, “native Hawaiians” reify settler colonialism. South Park’s satire fails and becomes haunted by specters of settlement that call into question its critique. When the “native Hawaiians” eventually liberate themselves from encroaching tourists and U.S. military forces, an impasse emerges. Rather than signifying Native Hawaiians with agency, only “native Hawaiians” demonstrate the possibilities of self-determination, sovereignty, and decolonization, which exempt white settlers from enacting colonization and produce a discursive impossibility for Native Hawaiians. Third, I suggest cultural studies reimagine its scholarship to exercise an alliance politics that interrupts knowledge produced by popular culture satire attempting critiques of settler colonialism that simultaneously naturalize the dispossession and elimination of Indigenous peoples.

The State of Sabah, through the State Religious Council, has legally ratified the fatwa (religious edict) upon 22 religious teachings which being classified as deviant and misrepresentative of Islam. The deviant teachings are considered to be incongruent with the central belief of Ahlus Sunnah wal-Jamaah as the fundamental basis of Islamic faith in Malaysia. Their religious dogmas are not only destabilising the solidarity of Muslim society, but also the security and the political stability of this country. In conjunction with this, the State Religious Fatwa Council, has taken firm action by gazetting the fatwa on all the 22 teaching groups as deviant and contradicting with the true principle of Islam. In order to analyse further the Sabah State policy in dealing with the development of deviant teachings, this study will divide the main focus of discussion into three focal issues. The first issue will discuss the conceptual deviant teachings phenomenon in a religious-faith community. The second issue will examine the scenario and the character of deviant teachings in Malaysia, particularly in Sabah. The third issue is to analyse State government policies based on the State Fatwa Enactment to curb the spread of deviant teachings among local Muslim community in Sabah. This is a qualitative study employs literature reviews and interviews with relevant respondents. The study findings have notified that Sabah has already a solid system which enable it to evaluate and classify one particular religious teaching whether it contradicts or not in accordance with Al-Quran, As-Sunnah and Ahlus Sunnah wal Jamaah doctrines. In curing and controlling the deviant teachings syndrome, the State Government has used different mechanisms including constant monitoring, conveying da’wah, and also setting up a rehabilitation centre in Sabah. The employment of this thorough approach is vital to ensure the spread of deviant teachings in Sabah is well taken care of.

The research highlights on the aesthetics of artistic expression in the products of the Islamic photography schools to highlight the most important aesthetic and aesthetic values ​​by analyzing selected models of those products that the Islamic photographer was able to employ the various life data and its multiple vocabulary to create visual spaces that are characterized by balanced symmetry. He distributes his vocabulary and characters and the contents of his photographic art through a visual text that gave special attention to these productions. These products came as a clear, articulated and expressive view of themselves, inspired by their ideas and implications from the social life of Islamic society. The current research aims to reveal the aesthetics of artistic expression in the productions of Islamic photography schools. Therefore, the researcher adopted the analytical descriptive approach in building the research procedures as it is the most scientific method suitable to achieve the objective of the current research. The current research community consists products of Islamic art photography schools in (Iraqi - Mughal in Iran - Timorese school - Ottoman Turkish photography) dating back to middle Ages. Since the research community is very broad, the researcher resorted to selecting an objective sample consisting of (4) models: 1- Baghdad School (Al-Barqa'a Center- The Hajj procession) 2- (zal under Roodbe's balcony) Shahnama Ferdosi 3- Elephant's Hour. The main conclusions are: pictures expressed a symbolic message, reflected the customs and traditions of those times. 2 - Misrepresentation was present by drawing shapes and exaggerating disposing of proportions contrary to the truth. 3 - coordinating the constituent components of the pictures and creating balanced and unified relationships with each other to achieve aesthetic expression. The most important conclusions are: 1- The value of the creative achievement, the aesthetic and artistic inventory, and the power of expression in Islamic art through their expressions of the soul of society, showing the intellectual level of the Muslim artist. 2- The Islamic decoration was used in the products of Islamic schools to exalt the material existence based on the aesthetic shape which represented by the centrality of man.

In 2000, David Irving brought a libel action against Professor Deborah Lipstadt and Penguin Books focusing on allegedly defamatory allegations in her book Denying the Holocaust associating him with the Holocaust revisionist movement. The case concluded in April 2000 with Irving’s defeat. By focusing on Irving’s methodological technique, the defendants succeeded in establishing that Irving’s misrepresentations and falsifications were neither accidental nor careless but ideologically motivated. His character was presented and censured as one which manipulated and distorted in order to facilitate a racist agenda. Presiding judge, Mr Justice Gray was keen not to pollute the exercise of justice by acting as a quasi-historian, nevertheless Irving sharpened the focus on the relationship between historians and courts. Can history migrate from the amphitheatre to the witness box and re-emerge with its integrity intact? Historians are increasingly called as expert witnesses and this has resulted in huge controversies, intra-historian strife and debates on experts’ ethics. Thus, despite this article’s mooring in a Holocaust context, it raises questions relevant to the much wider context of history and law, and as regards “public history”. Law and history will meet continuously during litigation. Judicial and historical understandings of evidence should not be either intuitively or automatically elided and even a Holocaust context should not conquer the quest for a mutually self-aware relationship. Without engaging in endless discussions concerning the nature of knowledge and the philosophy of history, judges require standards for assessing the weight of historical evidence to ensure “intellectual due process” and that, evidentially at least, legal conclusions are sound. How can historians best facilitate the legal process and how can lawyers avoid mistranslating historical work? A legally created standard (such as Mr Justice Gray attempted) for expert evidence appears attractive. Admissibility or reliability tests are options and open up issues such as bar-appointed experts and expert ethical codes. Ultimately, the quest is not to crowbar unwilling historians into roles as mere judicial handmaidens, but instead to recognise wider societal contributions of historians and to give due credit to the 'reasonable historian'. When historians appear as expert witnesses, they are not 'doing history', they are communicating historical expertise in another forum. Such cross-pollinating communication or 'public history' is a process of translation. Undoubtedly, law is the dominant discipline in court and history is being instrumentalised. However, with due care, such interactions need not distort complex historical studies or restrict future historical research. Disciplinary faithfulness can be preserved by legal reliance on historical guild-standards. In this way, standards regarding intellectual rigour and methodological integrity are safeguarded and notions that there is one history for historians and another/lesser one for courts are avoided.

Este artigo trata da educação em Direitos Humanos entendida como uma pedagogia comprometida com a promoção da dignidade de todo e qualquer ser humano. O objetivo da pesquisa é demonstrar, por meio de atividades, como a literatura infantil pode constituir material inestimável para a educação em Direitos Humanos. A metodologia empreendida na pesquisa tem caráter bibliográfico. A revisão bibliográfica, em nenhum momento, visa esgotar algum tópico apresentado, mas construir um cenário capaz de ilustrar os pressupostos teóricos que alicerçam as sugestões apresentadas e discutidas. Os resultados demonstram a importância da definição dos conceitos teóricos que orientam as discussões, visto as limitações, deturpações e inovações que os conceitos aqui abordados concentram. Concluímos que a contação de histórias, com o cuidado de não tornar a leitura mecânica, é uma atividade em que o contador e o ouvinte têm um encontro no espaço da fantasia, o que pode, efetivamente, modificar as pessoas. Já a metodologia adotada para a escrita deste artigo consiste em apresentar os conceitos teóricos como um passeio pela literatura, afinal Gabriel García Márquez, que dispensa qualificações afirma A vida não é o que a gente viveu e sim o que a gente recorda e como recorda, para contá-la. Derechos humanos y literatura: por qué los libros cambian a las personas y las personas cambian el mundo Este artículo trata sobre la educación en derechos humanos entendida como una pedagogía comprometida con la promoción de la dignidad de todos y cada uno de los seres humanos. El objetivo de la investigación es demostrar, a través de actividades, cómo la literatura infantil puede ser un material invaluable para la educación en derechos humanos. La metodología utilizada en la investigación tiene carácter bibliográfico. La revisión bibliográfica, en ningún momento, pretende agotar cualquier tema presentado, sino construir un escenario capaz de ilustrar los supuestos teóricos que sustentan las sugerencias presentadas y discutidas. Los resultados demuestran la importancia de definir los conceptos teóricos que guían las discusiones, dadas las limitaciones, tergiversaciones e innovaciones en las que se concentran los conceptos aquí discutidos. Concluimos que contar historias, cuidando que la lectura no sea mecánica, es una actividad en la que el narrador y el oyente tienen un encuentro en el espacio de la fantasía, que efectivamente puede cambiar a las personas. La metodología adoptada para la redacción de este artículo consiste en presentar los conceptos teóricos como un paseo por la literatura, al fin y al cabo Gabriel García Márquez, que no necesita titulación, afirma “La vida no es lo que vivimos, sino lo que recordamos, y cómo se recuerda. para contarlo. Palabras clave: Derechos humanos. Literatura. Cuentacuentos. Human rights and literature: why books change people and people change the world This article deals with human rights education understood as a pedagogy committed to promoting the dignity of each and every human being. The objective of the research is to demonstrate, through activities, how children’s literature can be invaluable material for human rights education. The methodology used in the research has a bibliographic character. The bibliographic review, at no time, aims to exhaust any topic presented, but to build a scenario capable of illustrating the theoretical assumptions that underpin the suggestions presented and discussed. The results demonstrate the importance of defining the theoretical concepts that guide the discussions, given the limitations, misrepresentations and innovations that the concepts discussed here concentrate on. We conclude that storytelling, taking care not to make reading mechanical, is an activity in which the storyteller and the listener have an encounter in the space of fantasy, which can effectively change people. The methodology adopted for the writing of this article consists of presenting the theoretical concepts as a walk through literature, after all Gabriel García Márquez, who needs no qualifications, affirms “Life is not what we lived, but what we remember, and how it remembers to tell it. Keywords: Human rights. Literature. Storytelling.

A list of species with an access of their “amount” (number of individuals, true/projective cover, biomass) on a plot of a standard size is the information that is necessary for an objective classification of plant communities, no matter what principles it is based on. Information on species composition, the variation both in their “amount” and constancy in the pool of geobotanical relevés is the basis for their clustering and the delimitation of syntaxonomical units. The only possible documents recording this information are geobotanical relevés, both published in the open press and stored in databases/archives. The completeness of species list within these depends on such parameters as time spent working in the field and technique (standard eye assessment at the sample plot (25 or 100 m2), a series of smaller (less than 1 m2) plots as well the researcher’s professionalism. The statement about the need to obtain a complete list of species in each stand seems an axiom, which is not fulfilled in practice. In Taymyr, when describing zonal communities for more than 2 hours, were recorded about 75 % of species, found on a permanent, carefully studied, sample plot of the same association. It is not necessary to comment that eye assessment of both composition and quantitative parameters are far fr om perfect. The same “amount” of species (abundance, cover) can be reflected differently not only by various researchers, but even by one, and not only in different years and areas, but as well in one season depending on such factors as what reléve was before, at what time of day (evening lighting in the Arctic is a serious factor), in what weather, etc. The result is influenced by factors such as the size and shape of a sample plot. The size is obvious: it should be no smaller than minimal area i. e. an area that gives an adequate idea of the composition of the described plot (Barkman, 1958, 1993). For the Arctic, according to the results of special work (Matveyeva, 1998), an area of 25 m2 was recommended for the species richest communities with a complex horizontal structure and 9 m2 for all others. The most frequent, generally accepted shape is a square. The use of another one depends on the community configuration: in narrow, elongated, winding, it must be “adjusted” to the outline of the stand, or it is better to abandon a single large plot in favor of several smaller ones. Location of the sample plot in space: preferably the most central, equidistant from the community boundaries. The smaller size of the community in general or its narrowness is fraught by the effect of visinizm (Barkman, 1958, 1990): the plot and therefore the list will get species of neighboring communities. No less problematic is the eye assessment of the species”amount”. It is generally accepted to evaluate projective cover, since neither to count the number of individuals, nor the determine of the true cover, and even more no biomass, in numerous relevés, is unrealistic. Despite the enormous field experience of Western European phytosociologists during the first half of the last century, who become convinced that it was impossible to determine the projective cover by eye with an accuracy of 1 %, they came to a reasonable decision to use grades. In the practice of classification according to the Brown-Blanquet approach, the 7-grade scale (r, +, 1, 2, 3, 4, 5), periodically slightly modified, became the most widely used (see: Becking, 1957). To our great regret, we gradually began to use individual authors’ scales with larger number of grades — as a result the same numbers in different scales represent different cover in percent. This is more or less acceptable as long as we are talking about one paper. However when a lot of data are collected from different, often geographically remote, areas, and a large number of relevés are put into a single table, the possibility of an error in assessing the species cover is huge. Recently again, researches began to show the projective cover with an accuracy of 1 %, arguing that percent can be converted into grades, but not vice versa. The objection is the same: it is impossible to determine the projective cover by eye with an accuracy of 1 %. Not only that each researcher has his own mistake (before starting work in the field in Taymyr, we checked our estimates more than once: the difference in smaller values always differed by 1–3 %, in higher ones (after 25 %) by 5–10 %); the same person will give a different percentage depending on many reasons. Hence, if it is not specified how the projective cover was assessed (for example, on 100 m2 sample plot on each 1 m2, i.e. 100 squares), then the figures 8 %, 11 %, 19 %, 38 %, 41 %, etc. — are deliberate misrepresentation. An intermediate result of the discussion of field errors: the eye assessment of the composition, the total number of species and their amount depends on such a number of tricks that its accuracy leaves much to be desired. What is the alternative? It is available and repeatedly tested. From personal experience in Taimyr, this is the use of small (from 0.1×0.1 to 0.5×0.5 m) plots on which species identification and estimation of their numbers is incomparably more accurate than on a large test site. Another approaches were: to use a ­graduated piece of metal-wire — a field device for creating a virtual plot in the form of 3 circles (0.1, 0.01, 0.001 m2 in size) for obtaining data in heterogeneous Arctic communities, proposed by Danish phytosociologist T. Böcher (1975); to estimate separately the “amount” and number of species for each element of intra-community mosaic. Always the practice on identifying species on smaller plots gave results 1.5–2 times higher than in the standard relevé, i. e. the species richness of the Arctic communities is underestimated and often very much (up to 30 %). It should also be noted that it is always a great success if specialists in different plant groups work together in the field, for the Arctic in particular these are bryologists and lichenologists: the numbers of species in relevés are always many times higher. All the above facts are the arguments of the evident incomplete list of species under standard field practice. What follows from this? First position is that: 1) the number and set of species in different communities of the same association is always different (“... the number of species grows steadily as the number of relevés increases even in the most homotonous types of vegetation” (Barkman, 1990: p. 1217); 2) the species richness of the association (coenoflora) is many times higher than that of a particular stand. Few examples: in polar desert zone on Bolshevik Isl. in the zonal ass. Deschampsio-Aulacomnietum turgidi Matveyeva 2006 179 species were identified in 18 stands, with 49–84 in each one (70 in average), i.e. 2.5 times less than in the association; for other associations (same place) this ratio is 1.7–2.8 (Matveyeva, 2006); on Taymyr, this indicator varies from 1.0 to 3.4, and there is no connection with either the zonal position or the number of relevés (Matveyeva, 2009). Having in mind the significant differences in species richness of communities and syntaxa, it would be possible to see the unevenness of species distribution in the landscape, which is also indicated by the species spread in constancy classes with a high (up to 40– 50 %) proportion of species of the low (1–20 %) constancy. The question whether this reflects the reality is asked extremely rarely. Greatly possible is that a large number of species with low constancy in syntaxa is a consequence of their oversight in the field. In the data processing such field errors are not taken into account, and in the procedure of syntaxon differentiation one attaches importance to variances in the presence of low-constant (I and II classes) species. The difference in one step fits into the statistical error for any class (even assuming the unbelievable that every species has been recorded in each stand that does not happen in practice). Hence, it is incorrect to consider such weak differences in the species constancy (V–IV, IV–III, III–II, II–I) as essential for choosing selective character species (occur in several syntaxa, but more often in one). Against giving diagnostic value to low-constant species, in particular those with low (r, +) abundance, experts in phytosociology have been warning for a long time (see: Barkman, 1990, 1991). Outside the scope of analysis is also a topic of how many relevés are needed for definition a new syntaxon, as well as on which territory — in one or in several sites. However just this is what gives reason of describing new variants of already known associations in another area wh ere another researcher works with his own errors in obtaining data. An answer to the question of what to do with all this is as follows: no matter how tempting it is to attract indicators of species composition, richness and constancy, for any kinds of assessment and comparisons, they should be used with great care, having in mind the methodological errors in their obtaining. But even if forget about the relevé quality, their table treatment is also not at the highest level (three example are given). In order not to complete the given essay on the subject of how imperfect we are in our attempts not only in understanding, but even in describing nature on such a sad note, here, as an ironic defense, is a quote from the ancient Greek (485–410 BC) philosopher Protagoras: “... about every subject we can say both in two ways and in the opposite way”, which in our practice is often sounds as: “but the author sees it like that”. However if we consider ourselves as people of science, we have to operate with facts, to justify our position by evidence, not by assumptions, guesses, and emotions ... In any comparisons of the species diversity of communities and the use of these data for their classification, it should be keeping in memory that the subjective factor can cause wrong conclusions under the objectivity of mathematical calculations. Or even so simpler: if inaccuracy is in the data, then statistics gives only the visibility of accuracy.

Vilniaus universitetasSocialinio darbo katedraUniversiteto g. 9/1 – 309 kab.LT-01513 VilniusEl. paštas: donatai@gmail.com Straipsnio tikslas – išnagrinėti ir atskleisti tyrėjo subjektyvaus patyrimo episteminę reikšmę ir jo panaudojimo lauko tyrimuose galimybes. Šios temos nagrinėjimas svarbus, nes leidžia kritiškiau įvertinti lauko tyrimus, visapusiškiau traktuoti jų duomenis ir siekti didesnio jų validumo. Rengiant medžiagą straipsniui buvo taikomi mokslinės literatūros, metodinių pavyzdžių ir asmeninės patirties analizės metodai. Prieita prie išvados, kad atliekant tokio pobūdžio tyrimus svarbu fiksuoti ne tik tai, kas vyksta tyrėjo išorėje (t. y. tiriamoje erdvėje), bet ir tai, kas vyksta tyrėjo viduje, ir šiuos vidinius vyksmus traktuoti kaip intensyvių ir daugiamačių tyrėjo ir tiriamųjų sąveikų padarinius.Pagrindiniai žodžiai: lauko tyrimas, etnografinis tyrimas, stebėjimas dalyvaujant, reflektyvumas, tyrėjo savianalizė.The Epistemic Singnificance of Researcher’s Subjective Experience in Fieldwork Donata Petružytė Summary The key feature of fieldwork is the researcher’s immersion in the culture (i.e. the group or community) being investigated. For this reason, fieldwork requires an exceptionally deep and personal involvement and is, therefore, emotionally costly to the researcher. This article is specifically aimed at drawing readers’ attention to subjective experiences of the fieldworker, which are rarely discussed in the scientific literature. In essence, the objective of this article is to reveal the epistemological significance of a researcher’s subjective experience and to investigate the possibilities of its application to fieldwork. The primary methods of data collection for this article were analysis, synthesis, and interpretation of scientific literature and methodological illustrations. In addition, the author’s personal experience in fieldwork was also analysed (namely, her research about waste-gatherer communities in Lithuanian landfills, which was conducted in cooperation with Mindaugas Survila, the director and cameraman of the 2011 documentary “Field of Magic”). The author believes that the aforementioned topic deserves thorough research because of its potential to aid the critical evaluation of fieldwork, to allow a more versatile data interpretation, and to improve the validity of gathered data. On the one hand, the theoretical aspects of the problem are only briefly examined in this article. On the other hand, the practical strategies of encouraging social and psychological reflectivity are discussed extensively and personal experience is analysed meticulously. Despite the fact that this article deals with fieldwork in particular, some of its findings might be useful for qualitative research in general. It must be acknowledged that the social setting of the field has an inevitable impact on the ethnographer. The summary of the author’s personal reflections, ethnographic research, and methodological literature reveals five types of such impact: physiological, cognitive, social, emotional, and ethical. In each individual case, the combination of levels of influence and their intensity depend on three factors: research characteristics (duration, intensity of data collection, cultural proximity / distance between researchers and participants), the researcher’s personal qualities and experience, and the peculiarities of the social milieu being investigated. It is evident, that only through constant effort of reflection the pitfall of unconscious social conditioning can be avoided. Otherwise it might lie unnoticed and lead to gross misrepresentations of social reality. Naturally, researchers themselves also have a powerful effect on their group of research subjects as their sudden entrance in the field abruptly interrupts the course of habitual activities of these subjects. Research subjects also have particular expectations the researcher and their own attitudes based on individual experience or common sense. Consequently, it is extremely important for the researcher to master the art of identifying and negotiating these expectations and common sense notions in order to properly steer the process of entering the field. The level of mastery determines the type of data accessible to the researcher and how readily available it is. Generally speaking, there are several crucial aspects of the ethnographer’s influence on research subjects. Firstly, there is a number of primary characteristics of identity, determining the researcher’s personality and the conduct of research, which are beyond one’s control. Namely, they are gender, age, and ethnic background, which are associated with specific social norms. Secondly, there are a few factors that the scientist can control. They include his or her outlook, behaviour, and social skills. Despite being less fundamental, the latter are sometimes useful in mitigating the negative effects of the former. Accordingly, controllable and uncontrollable factors interact with the expectations of research subjects to create a particular image of the scientist. A dedicated role is fairly quickly assigned to the researcher, but it may be transformed in the course of the fieldwork. As each given role allows for a specific amount of social power, and the researcher’s power translates into freedom of inquiry, the fieldworker’s scientific endeavour is enhanced by attainment of powerful roles and limited by reception of powerless roles. Although the former statement has become fieldworkers’ common sense, a mere recognition of the fact does not suffice. In order to thoughtfully and efficiently handle the research process, fieldworkers need to delve deeply into the everyday interaction among their social roles, psychological characteristics, subjects’ expectations and dispositions about them and their research. Scientists must also evaluate their level of coping with all the tasks and how it advances or hinders data collection. It is clearly evident that knowledge about social life, as generated during fieldwork, has little to do with the controlled setting of a lab. Its life-like character is marked with intimate, long-term, complicated, and multidimensional relationship between the research parties. Hence, it is important to register not only the flow of events in the field that are external to the researcher, but also his or her inner processes and to treat them as a product of multifaceted interaction between the fieldworker and natives of the field. It is quite apparent that because of a multitude of reciprocal effects between ethnographers and the field, researchers cannot be regarded as infallible and objective means of research. Henceforth, regular efforts by the researcher to analyse this complicated relationship from one’s point of view are mandatory. These efforts might provide a fruitful insight into research development and data interpretation. In conclusion, reflecting should be a vital part of every ethnographer’s research, because it would bring a handful of improvements. Firstly, the proper reflection on processes within the field and the self-analysis might lead to an increased observational acuteness. This would account for richer data and more in-depth information about the research object. Secondly, regular self-analysis would allow the fieldworker to be more involved in the research process and improve his or her ability to make strategic moves. Thirdly, acute reflection could shed more light on the context of data and the procedure of their collection. Furthermore, this would lead to a both more apt attribution of meaning during data interpretation and an improved validity of data. As a bonus, self-analysis may relieve the emotional burden put on the researcher by the difficulties of fieldwork and encourage the fieldworker’s personal development. Finally, deep reflection might also serve the educational purpose for both authors and readers alike, since it enriches research reports with detailed accounts of the fieldwork peculiarities. Key words: field research, ethnographic research, participant observation, reflectivity, researcher’s self-analysis

The Routledge Handbook of language and culture represents a comprehensive study on the inextricable relationship between language and culture. It is structured into seven parts and 33 chapters. Part 1, Overview and historical background, by Farzad Sharifian, starts with an outline of the book and a synopsis of research on language and culture. The second chapter, John Leavitt’s Linguistic relativity: precursors and transformations discusses further the historical development of the concept of linguistic relativity, identifying different schools’ of thought views on the relation between language and culture. He also tries to demystify some misrepresentations held towards Boas, Sapir, and Whorf’ theories (pp. 24-26). Chapter 3, Ethnosyntax, by Anna Gladkova provides an overview of research on ethnosyntax, starting from the theoretical basis laid by Sapir and Whorf and investigates the differences between a narrow sense of ethnosyntax, which focuses on cultural meanings of various grammatical structures and a broader sense, which emphasises the pragmatic and cultural norms’ impact on the choice of grammatical structures. John Leavitt presents in the fourth chapter, titled Ethnosemantics, a historical account of research on meaning across cultures, introducing three traditions, i.e. ‘classical’ ethnosemantics (also referred to as ethnoscience or cognitive anthropology), Boasian cultural semantics (linguistically inspired anthropology) and Neohumboldtian comparative semantics (word-field theory, or content-oriented Linguistics). In Chapter 5, Goddard underlines the fact that ethnopragmatics investigates emic (or culture-internal) approaches to the use of different speech practices across various world languages, which accounts for the fact that there exists a connection between the cultural values or norms and the speech practices peculiar to a speech community. One of the key objectives of ethnopragmatics is to investigate ‘cultural key words’, i.e. words that encapsulate culturally construed concepts. The concept of ‘linguaculture’ (or languaculture) is tackled in Risager’s Chapter 6, Linguaculture: the language–culture nexus in transnational perspective. The author makes reference to American scholars that first introduced this notion, Paul Friedrich, who looks at language and culture as a single domain in which verbal aspects of culture are mingled with semantic meanings, and Michael Agar, for whom culture resides in language while language is loaded with culture. Risager himself brought forth a new global and transnational perspective on the concept of linguaculture, i.e. the use of language (linguistic practice) is seen as flows in people’s social networks and speech communities. These flows enhance as people migrate or learn new languages, in permanent dynamics. Lidia Tanaka’s Chapter 7, Language, gender, and culture deals with research on language, gender, and culture. According to her, the language-gender relationship has been studied by researchers from various fields, including psychology, linguistics, and anthropology, who mainly consider gender as a construct that preserves inequalities in society, with the help of language, too. Tanaka lists diachronically different approaches to language and gender, focusing on three specific ones: gender stereotyped linguistic resources, semantically, pragmatically or lexically designated language features (including register) and gender-based spoken discourse strategies (talking-time imbalances or interruptions). In Chapter 8, Language, culture, and context, Istvan Kecskes delves into the relationship between language, culture, and context from a socio-cognitive perspective. The author considers culture to be a set of shared knowledge structures that encapsulate the values, norms, and customs that the members of a society have in common. According to him, both language and context are rooted in culture and carriers of it, though reflecting culture in a different way. Language encodes past experience with different contexts, whereas context reflects present experience. The author also provides relevant examples of formulaic language that demonstrate the functioning of both types of context, within the larger interplay between language, culture, and context. Sara Miller’s Chapter 9, Language, culture, and politeness reviews traditional approaches to politeness research, with particular attention given to ‘discursive approach’ to politeness. Much along the lines of the previous chapter, Miller stresses the role of context in judgements of (im)polite language, maintaining that individuals represent active agents who challenge and negotiate cultural as well as linguistic norms in actual communicative contexts. Chapter 10, Language, culture, and interaction, by Peter Eglin focuses on language, culture and interaction from the perspective of the correspondence theory of meaning. According to him, abstracting language and culture from their current uses, as if they were not interdependent would not lead to an understanding of words’ true meaning. David Kronenfeld introduces in Chapter 11, Culture and kinship language, a review of research on culture and kinship language, starting with linguistic anthropology. He explains two formal analytic definitional systems of kinship terms: the semantic (distinctions between kin categories, i.e. father vs mother) and pragmatic (interrelations between referents of kin terms, i.e. ‘nephew’ = ‘child of a sibling’). Chapter 12, Cultural semiotics, by Peeter Torop deals with the field of ‘semiotics of culture’, which may refer either to methodological instrument, to a whole array of methods or to a sub-discipline of general semiotics. In this last respect, it investigates cultures as a form of human symbolic activity, as well as a system of cultural languages (i.e. sign systems). Language, as “the preserver of the culture’s collective experience and the reflector of its creativity” represents an essential component of cultural semiotics, being a major sign system. Nigel Armstrong, in Chapter 13, Culture and translation, tackles the interrelation between language, culture, and translation, with an emphasis on the complexities entailed by translation of culturally laden aspects. In his opinion, culture has a double-sided dimension: the anthropological sense (referring to practices and traditions which characterise a community) and a narrower sense, related to artistic endeavours. However, both sides of culture permeate language at all levels. Chapter 14, Language, culture, and identity, by Sandra Schecter tackles several approaches to research on language, culture, and identity: social anthropological (the limits at play in the social construction of differences between various groups of people), sociocultural (the interplay between an individual’s various identities, which can be both externally and internally construed, in sociocultural contexts), participatory-relational (the manner in which individuals create their social–linguistic identities). Patrick McConvell, in Chapter 15, Language and culture history: the contribution of linguistic prehistory reviews research in this field where historical linguistic evidence is exploited in the reconstruction and understanding of prehistoric cultures. He makes an account of research in linguistic prehistory, with a focus on proto- and early Indo-European cultures, on several North American language families, on Africa, Australian, and Austronesian Aboriginal languages. McConvell also underlines the importance of interdisciplinary research in this area, which greatly benefits from studies in other disciplines, such as archaeology, palaeobiology, or biological genetics. Part four starts with Ning Yu’s Chapter 16, Embodiment, culture, and language, which gives an account of theory and research on the interplay between language, culture, and body, as seen from the standpoint of Cultural Linguistics. Yu presents a survey of embodiment (in embodied cognition research) from a multidisciplinary perspective, starting with the rather universalistic Conceptual Metaphor Theory. On the other hand, Cultural Linguistics has concentrated on the role played by culture in shaping embodied language, as various cultures conceptualise body and bodily experience in different ways. Chapter 17, Culture and language processing, by Crystal Robinson and Jeanette Altarriba deals with research in the field of how culture influence language processing, in particular in the case of bilingualism and emotion, alongside language and memory. Clearly, the linguistic and cultural character of each individual’s background has to be considered as a variable in research on cognition and cognitive processing. Frank Polzenhagen and Xiaoyan Xia, in Chapter 18, Language, culture, and prototypicality bring forth a survey of prototypicality across different disciplines, including cognitive linguistics and cognitive psychology. According to them, linguistic prototypes play a critical part in social (re-)cognition, as they are socially diagnostic and function as linguistic identity markers. Moreover, individuals may develop ‘culturally blended concepts’ as a result of exposure to several systems of conceptual categorisation, especially in the case of L2 learning (language-contact or culture-contact situations). In Chapter 19, Colour language, thought, and culture, Don Dedrick investigates the issue of the colour words in different languages and how these influence cognition, a question that has been addressed by researchers from various disciplines, such as anthropology, linguistics, cognitive psychology, or neuroscience. He cannot but observe the constant debate in this respect, and he argues that it is indeed difficult to reach consensus, as colour language occasionally reveals effects of language on thought and, at other times, it is impervious to such effects. Chapter 20, Language, culture, and spatial cognition, by Penelope Brown concentrates on conceptualisations of space, providing a framework for thinking about and referring to objects and events, along with more abstract notions such as time, number, or kinship. She lists three frames of reference used by languages in order to refer to spatial relations, i.e. a) an ‘absolute’ coordinate system, like north, south, east, west; b) a ‘relative’ coordinate system envisaged from the body’s standpoint; and c) an intrinsic, object-centred coordinate system. Chris Sinha and Enrique Bernárdez focus on, in Chapter 21, Space, time, and space–time: metaphors, maps, and fusions, research on linguistic and cultural concepts of time and space, starting with the seminal Conceptual Metaphor Theory (CMT), which they denounce for failing to situate space–time mapping within the broader patterns of culture and world perspective. Sinha and Bernárdez further argue that although it is possible in all cultures for individuals to experience and discuss about events in terms of their duration and succession, the specific words and concepts they use to refer to temporal landmarks temporal and duration are most of the time language and culture specific. Chapter 22, Culture and language development, by Laura Sterponi and Paul Lai provides an account of research on the interplay between culture and language acquisition. They refer to two widely accepted perspectives in this respect: a developmental mechanism inherent in human beings and a set of particular social contexts in which children are ‘initiated’ into the cultural meaning systems. Both perspectives define culture as “both related to the psychological make-up of the individual and to the socio-historical contexts in which s/he is born and develops”. Anna Wierzbicka presents, in Chapter 23, Language and cultural scripts discusses representations of cultural norms which are encoded in language. She contends that the system of meaning interpretation developed by herself and her colleagues, i.e. Natural Semantic Metalanguage (NSM), may easily be used to capture and convey cultural scripts. Through NSM cross-cultural experiences can be captured in a thorough manner by using a reduced number of conceptual primes which seem to exist in all languages. Chapter 24, Culture and emotional language, by Jean-Marc Dewaele brings forth the issue of the relationship between language, culture, and emotion, which has been researched by cultural and cognitive psychologists and applied linguists alike, although with some differences in focus. He considers that within this context, it is important to see differences between emotion contexts in bilinguals, since these may lead to different perceptions of the self. He infers that generally, culture revolves around the experience and communication of emotions, conveyed through linguistic expression. The fifth part starts with Chapter 25, Language and culture in sociolinguistics, by Meredith Marra, who underlines that culture is a central concept in Interactional Sociolinguistics, where language is considered as social interaction. In linguistic interaction, culture, and especially cultural differences are deemed as a cause of potential miscommunication. Mara also remarks that the paradigm change in sociolinguistics, from Interactional Sociolinguistics to social constructionism reshaped ‘culture’ into a more dynamic as well as less rigid concept. Claudia Strauss’ Chapter 26, Language and culture in cognitive anthropology deals with the relationship between human society and human thought/thinking. The author contends that cognitive anthropologists may be subdivided into two groups, i.e. ones that are concerned with the process of thinking (cognition-in-practice scholars), and the others focusing on the product of thinking or thoughts (concerned with shared cultural understandings). She goes on to explore how different approaches to cognitive anthropology have counted on units of language, i.e. lexical items and their meanings, along with larger chunks of discourse, as information, which may represent learned cultural schemata. Part VI starts with Chapter 27, Language and culture in second language learning, by Claire Kramsch, in which she makes a survey of the definition of ‘culture’ in foreign language learning and its evolution from a component of literature and the arts to a more comprehensive purport, that of culturally appropriate use of language, along with an appropriate use of sociopragmatic and pragmalinguistic norms. According to her, in the postmodern era, communication is not only mere transmission of information, it represents construal and positioning of the self and of self-identity. Chapter 28, Writing across cultures: ‘culture’ in second language writing studies, by Dwight Atkinson focuses on the usefulness of culture in second-language writing (SLW). He reviews several approaches to the issue: contrastive rhetoric (dealing with the impact of first-language patterns of text organisation on writers in a second language), or even alternate notions, like‘ cosmopolitanism’, ‘critical multiculturalism’, and hybridity, as of late native culture is becoming irrelevant or at best far less significant. Ian Malcolm tackles, in Chapter 29, Language and culture in second dialect learning, the issue of ‘standard’ Englishes (e.g., Standard American English, Standard Australian English) versus minority ‘non-standard’ speakers of English. He deplores the fact that in US specialist literature, speaking the ‘non-standard’ variety of English was associated with cognitive, cultural, and linguistic insufficiency. He further refers to other specialists who have demonstrated that ‘non-standard’ varieties can be just as systematic and highly structured as the standard variety. Chapter 30, Language and culture in intercultural communication, by Hans-Georg Wolf gives an account of research in intercultural education, focusing on several paradigms, i.e. the dominant one, investigating successful functioning in intercultural encounters, the minor one, exploring intercultural understanding and the ‘deconstructionist, and or postmodernist’. He further examines different interpretations of the concepts associated with intercultural communication, including the functionalist school, the intercultural understanding approach and a third one, the most removed from culture, focusing on socio-political inequalities, fluidity, situationality, and negotiability. Andy Kirkpatrick’s Chapter 31, World Englishes and local cultures gives a synopsis of research paradigm from applied linguistics which investigates the development of Englishes around the world, through processes like indigenisation or nativisation of the language. Kirkpatrick discusses the ways in which new Englishes accommodate the culture of the very speech community which develops them, e.g. adopting lexical items to express to express culture-specific concepts. Speakers of new varieties could use pragmatic norms rooted in cultural values and norms of the specific new speech community which have not previously been associated with English. Moreover, they can use these new Englishes to write local literatures, often exploiting culturally preferred rhetorical norms. Part seven starts with Chapter 32, Cultural Linguistics, by Farzad Sharifian gives an account of the recent multidisciplinary research field of Cultural Linguistics, which explores the relationship between language and cultural cognition, particularly in the case of cultural conceptualisations. Sharifian also brings forth illustrations of how cultural conceptualisations may be linguistically encoded. The last chapter, A future agenda for research on language and culture, by Roslyn Frank provides an appraisal of Cultural Linguistics as a prospective path for research in the field of language and culture. She states that ‘Cultural Linguistics could potentially create a paradigm that “successfully melds together complementary approaches, e.g., viewing language as ‘a complex adaptive system’ and bringing to bear upon it concepts drawn from cognitive science such as ‘distributed cognition’ and ‘multi-agent dynamic systems theory’.” She further asserts that Cultural Linguistics has the potential to function as “a bridge that brings together researchers from a variety of fields, allowing them to focus on problems of mutual concern from a new perspective” and most likely unveil new issues (as well as solutions) which have not been evident so far. In conclusion, the Handbook will most certainly serve as clear and coherent guidelines for scholarly thinking and further research on language and culture, and also open up new investigative vistas in each of the areas tackled.

Despite unprecedented global wealth creation, health inequity—the unjust health inequality between classes and groups among and within countries—persists, reviving the relevance of social justice as a lens to understand and as an instrument to intervene in these issues. However, the theoretical aspects and polysemous character of social justice as applied in the field of public health are often assumed rather than explicitly explained. An intersectional justice approach to understanding health inequality, inequity, and injustice might be useful. It argues that preexisting class-, race/ethnicity-, and gender-based health injustice and the socially differentiated impacts of the COVID-19 pandemic are shaped, interconnectedly, by economic maldistribution, cultural misrecognition, and political misrepresentation. Pursuing health justice requires analyses, strategies, and interventions that integrate the economic, cultural, and political spheres of redistribution, recognition, and representation, respectively. Such an intersectional approach to health justice is even more relevant and compelling in light of the COVID-19 pandemic. This article is broadly about class, race/ethnicity, and gender political economy of public health—but with a narrower focus on maldistribution, misrecognition, and misrepresentation, shaping social and health injustices.

Recent discussions have revived old claims that hereditarian research on race differences in intelligence has been subject to a long and effective taboo. We argue that given the extensive publications, citations, and discussions of such work since 1969, claims of taboo and suppression are a myth. We critically examine claims that (self-described) hereditarians currently and exclusively experience major misrepresentation in the media, regular physical threats, denouncements, and academic job loss. We document substantial exaggeration and distortion in such claims. The repeated assertions that the negative reception of research asserting average Black inferiority is due to total ideological control over the academy by “environmentalists,” leftists, Marxists, or “thugs” are unwarranted character assassinations on those engaged in legitimate and valuable scholarly criticism.

AbstractThis paper analyzes “Ningún lugar sagrado” (1998) by the Guatemalan writer Rodrigo Rey Rosa as a ‘ficción paranoica’ (“La ficción paranoica”, Clarín, 10 de octubre de 1991; Blanco nocturno, Anagrama, Barcelona, 2010). I will explain that Rey Rosa’s short story does not include univocal clues to identify the protagonist as an unreliable narrator whose overinterpretations give rise to a misrepresentation of the facts. According to my reading of “Ningún lugar sagrado”, the paranoiac features of the main character contribute to the ambiguity of the text that, in fact, never explicitly confirms or discredits his persecutory ideas. Following this line of argument, I suggest that Rey Rosa’s short story narrates an “imaginario de amenaza” (“La ficción paranoica”, Clarín, 10 de octubre de 1991) that, alluding to the climate of repression, intrigues and complicities in postwar Guatemala, generates paranoia –including that of the reader. “Ningún lugar sagrado” points to a more general tendency in recent Central American literature that, from the realm of fiction, highlights the widespread nature of paranoia in the region. Unlike social discourses that discuss the topic, these literary texts make use of narrative techniques that do not necessarily respond to a referential notion of truth (including hyperboles, digressions, irony and narrative ambiguity), when constructing the voice of a paranoiac character. According to my perspective, such narrative techniques lend themselves especially to capturing the alienating dimensions of violence in Central America where paranoia, rather than being a question of truth or exaggeration, constitutes a survival strategy.

Photography as main research data has not been used in anthropology to the extent that it was by Margaret Mead and Gregory Bateson in the late 1930s. This paper takes a critical examination of their use and analysis of photographs in their research in Highland Bali, to demonstrate that their subsequent conclusions may be misrepresentative of the people they were studying. By reviewing analyses by Ira Jacknis and Gerald Sullivan, along with more historical and theoretical considerations, it will become apparent that although the couple exhaustively used the photographic medium, their analysis and conclusions seem to have been manipulated to suit their original hypothesis. Their conclusions being drawn from a small portion of the unprecedented corpus of material, the bias from one of their funding bodies and their lack of collaborative analysis with the research subjects may have been the causes of this possible misrepresentation, although further research would be needed in order to support this claim. The paper concludes with a brief analysis of how the Mead and Bateson project should be viewed by contemporary students of visual anthropology, specifically with respect to reflexivity, collaboration. and contemporary ethical considerations. Finally, the paper calls for further research to be done with this material.

Ancient sources, modern scholarship, and modern popular media have misled audiences about the truth of the typical diet of the Roman lower strata. Modern movies and books, as well as ancient satire, a popular cultural medium of its time, put forth a stereotype of the lifestyle of rich citizens of Imperial Rome as contrasted with the poor Romans’ humble fare. Modern media, influenced by ancient satire, plays into stereotypes of the Imperial Romans stuffing themselves on dormice and grapes while their servants go hungry. The misconception in modern media may be created by a misreading of ancient satire, which is critical in nature. When the critical aspect of satire is misinterpreted, the elaborate and excessive meals are taken at face value rather than read as symbolic. In ancient satires, the depictions of both simple meals and fantastic banquets are exaggerated and must be interpreted as symbolic of the character serving or eating the meal.Modern representations of the ancient Romans’ diet, inaccurately influenced by ancient literature such as the satires of Horace, Juvenal, and Petronius, differ from recent findings of archaeologists in Herculaneum and Pompeii. The modern misrepresentation seems to come from a mistake in equating the food symbolic of the Roman upper strata with high nutritional value as well as equating the food symbolic of the lower strata to low nutritional value. An analysis of the food depictions in ancient literature and recent archeological findings suggest that poor Romans ate a healthier and more varied diet than is commonly believed.

The present research is carried out in the mainstream of the self-evident interest of the modern Ossetians to the history of their historical and linguistic ancestors - the medieval Alans, who advanced to the forefront of European history in the late Antiquity. The article discusses the content of the famous Portuguese legend about the creation of the Coimbra Coat of Arms, the former first capital of the country. According to the record in the first world history “Monarchia Lusytana”, created in Portugal in the XVI-XVII centuries, the Alanic king of the 5th Century Atashes, responsible for the destruction of the old city and the construction of Coimbra itself, commissioned creating the coat of arms, and it depicts his bride, the daughter of the defeated king of the Sueves. On both sides of the princess there are heraldic symbols generally considered to belong to Alans and Sueves. There are certain ground to presume, that this fairly historical legend mistakenly attributes the dragon to the Sueves, in which case we may reconsider the distribution of symbolic animals, as it is known, what important place in the attributes of Iranian-speaking Sarmatians and Alans was occupied by a dragon, whose image in this coat of arms is attributed to the Sueves. In addition, the analysis of the names of the protagonists shows that the name of the main female character, Sindizunda / Chindizunda, may be regarded as unhistorical and, possibly, emerged as a result of contamination with the name of the Visigothic King of Hispania of the VIIth century Chindaswind. The non-preservation of the name of the princess in the annals of history or her misrepresentation in the folklore memory accords with a fairly common gender asymmetric practice in relation to female anthroponyms.

As our nation and society attempt to introduce the notion of post-raciality in the twenty-first century, it becomes clear that this idealistic view of race relations in the United States can only be seen as valid when whiteness is considered to be “normal” or “neutral.” This prioritization of whiteness can be easily identified throughout popular culture, especially with the tendency of mainstream film and television to whitewash casts. However, one of the most prominent shows of the current age, Orange is the New Black (OITNB), has a cast that challenges the blindly accepted hegemonic standards by bringing marginalized communities to the center of attention. While it shatters many preconceived stereotypes dealing with race, class, and gender through its diverse array of characters, the show’s handling of its Asian characters seems only to perpetuate racist tropes. This essay examines why we have developed a blindspot for Asians when dealing with race and race relations by using OITNB as a quintessential microcosm of society at large

This paper explores questions for writers who are depicting traumatised characters in their creative practice. As a literary trope, ‘the unspeakable’ has been relied on as a shorthand for traumatic experience and the ongoing affects of trauma. This paper asks whether the unspeakable is adequate to convey the lived experience of trauma, or does it minimise or sideline trauma? Does recourse to the notion of the unspeakable prevent misappropriation of stories or does it lead instead to other kinds of misrepresentation and marginalisation? How can writers, appreciating the complexities raised by the notion of unspeakability, still convey truth and inspire empathic readings when speaking about trauma?

IntroductionJohn Berger provides a compelling analysis in Ways of Seeing on how we’ve been socialized through centuries of art to see women as objects and men as subjects. This way of seeing men and women is more than aesthetic choices but in fact shapes our ideologies of gender. As Berger asserts: “The art of the past no longer exists as it once did… In its place there is a language of images. What matters now is who uses that language for what purpose” (33).What happens when there are no historical images that represent your identity? How do others learn to see you? How do you learn to represent yourself? This article addresses the challenges that bisexuals face in constructing and contending with media representations of non-normative sexualities. As Berger suggests: “A people or class which is cut off from its own past is far less free to choose and to act as a people or class than one that has been able to situate itself in history” (33). This article seeks to apply Berger’s core concepts in Ways of Seeing studying representations of bisexuality in mainstream media. How bisexuality is represented, and therefore observed, shapes what can ultimately be culturally understood and recognized.This article explores how bisexuals use digital media to construct self-representations and brand a bisexual identity. Bisexual representations are particularly relevant to study as they are often rendered invisible by the cultural hegemony of monosexuality. Cultural norms ideologically shape the intelligibility of representation; bisexuality is often misinterpreted when read within the dominant binaries of heterosexuality and homosexuality in Western European culture. This work addresses how users adapt visual, textual, and hyperlinked information in online spaces to create representations that can be culturally recognized. Users want to be seen as bisexuals. The research for this article examined online social spaces created by and for bisexuals between 2013-2015, as well as mainstream media addressing bisexuality or bisexual characters. The social spaces studied included national and regional websites for bisexual organizations, blogs dedicated to bisexual issues and topics, and public bisexual groups on Facebook and Tumblr. Participant observation and semiotic analysis was employed to analyze how bisexual representation was discussed and performed. Learning to See Bisexuality Bisexuality is often constructed within the domain of medical and psychological classification systems as a sexual identity situated between one polarity or the other: between desiring men or desiring women as sexual partners or between being gay or being straight in sexual orientation, as most widely put forth by Alfred Kinsey in the 1950s (Kinsey et al., 1948; e.g., Blumstein, 1977; Diamond, 1993; Weinberg, 1995). This popularly held conception has a particular history that serves to reinforce the normative categories of heterosexuality and monosexuality.This history does not reflect bisexual’s accounts of their own experiences of what it means to be bisexual. Bisexuals in the spaces I study express their sexuality as fluid both in terms of gender (objects of desire do not have to identify as only male or female) as well as in terms of the lifespan (desire based on sex or gender does not have remain consistent throughout one’s life). As one participant remarked: “I think of bisexual as a different orientation from both homosexuals (who orient exclusively towards same-sex romance/sexuality) and heterosexuals (who orient exclusively toward opposite-sex romance/sexuality). Bisexuals seem to think about the world in a different way: a world of ‘AND’ rather than a world of ‘OR’.” Or as another participant noted: “I saw video a couple of months ago that described ‘bi’ as being attracted to ‘same and different sexed people.’ I considered my internal debate settled at that point. Yes, it is binary, but only in the broadest sense.”This data from my research is congruent with data from much larger studies that examined longitudinal psycho-social development of bisexual identities (Klein, 1978; Barker, 2007; Diamond, 2008). Individuals’ narratives of a more “fluid” identity suggest an emphasis at the individual level less about fluctuating between “two” possible types of sexual partners than about a dynamic, complex desire within a coherent self. Nevertheless, popular constructions of bisexuality in media continue to emphasize it within hegemonic monosexual ideologies.Heterosexual relationships are overwhelmingly the most dominant relationship type portrayed in media, and the second most portrayed relationship is homosexuality, or a serial monogamy towards only one gender. This pairing is not only conveying the dominant hegemonic norms of heterosexuality (and most often paired with serial monogamy as well), but it is equally and powerfully reproducing the hegemonic ideal of monosexuality. Monosexuality is the romantic or sexual attraction to members of one sex or gender group only. A monosexual person may identify as either heterosexual or homosexual, the key element being that their sexual or romantic attraction remains consistently directed towards one sex or gender group. In this way, we have all been socialized since childhood to value not only monogamy but monosexuality as well. However, current research on sexuality suggests that self-identified bisexuals are the largest group among non-heterosexuals. In 2011, Dr. Gary Gates, Research Director of the Williams Institute at UCLA School of Law, analyzed data collected from nine national health surveys from the USA, United Kindgdom, Canada, Australia and Norway to provide the most comprehensive statistics available to date on how many people self-identify as lesbian, gay, bisexual and transgender. While the population percentage of LGBT people varied by country, the ratio of lesbian, gay and bisexuals among LGBT people remained consistent, with self-identified bisexuals accounting for 40-60% of all LGBT populations regardless of country. This data is significant for challenging the popular assumption that bisexuals are a small minority among non-heterosexuals; indeed, this data indicates that non-monosexuals represent half of all non-heterosexuals. Yet we have learned to recognize monosexuality as dominant, normal and naturalized, even within LGBT representations. Conversely, we struggle to even recognize relationships that fall outside of this hegemonic norm. In essence, we lack ways of seeing bisexuals, pansexuals, omnisexuals, asexuals, and all queer-identified individuals who do not conform to monosexuality. We quite literally have not learned to see them, or—worse yet—learned how to not see them.Bisexual representations are particularly relevant to study as they are often rendered invisible in cultures that practice monogamy paired with hegemonic monosexuality. Members of bisexual spaces desire to achieve recognition but struggle to overcome bisexual erasure in their daily lives.Misrepresention: The Triad in Popular MediaWhen bisexuality is portrayed in media it is most commonly portrayed in a disingenuous manner where the bisexual is portrayed as being torn between potential lovers, on a pathway from straight to gay, or as a serial liar and cheater who cannot remain monogamous due to overwhelming attractions. Representations of bisexuals in media are infrequent, but those that are available too often follow these inaccurate stereotypes. By far the most common convention for representing bisexuality in visual media is the use of the triad: three people convey the (mis)representation of bisexuality as a sexuality in the “middle” of heterosexuality and homosexuality. For the purpose of this article, data analysis will be limited to print magazines for the sake of length and clarity.The 2014 New York Times Magazine article “The Scientific Quest to Prove Bisexuality Exists” (Denizet-Lewis) addresses the controversial nature of bisexuality. The cover image depicts a close-up of a man’s face, separated into two halves: in one half, a woman is nuzzled up to the man’s cheek, and the other half a man is nuzzled up to his ear. Presumably the man is bisexual and therefore split into two parts: his heterosexual self and his homosexual self. This visual depiction of bisexuality reifies the notion that bisexuals are torn between two polar desires and experience equal and concurrent attraction to more than one partner simultaneously. Furthermore, the triad represented in this way suggests that the essential bisexual is having simultaneous liaisons with heterosexual and homosexual partners.Within the convention of the triad there is also a sub-genre closely connected with hypersexualization and the male gaze. In these cases, the triad is commonly presented in varying states of undress and/or in a bed. An article in The Guardian from 11 April 2014 with the headline: “Make up your mind! The science behind bisexuality” (Browne) includes an image with three attractive young people in bed together. A man is sitting up between two sleeping women and smoking a cigarette – the cigarette connotes post-coital sexual activity, as does the smirk on his face. This may have been a suitable image if the article had been about having a threesome, but the headline—and the article—are attempting to explain the science behind bisexuality. Furthermore, while the image is intended to illustrate an article on bisexuality, the image is fundamentally misleading. The women in the image are asleep and to the side and the man is awake and in the middle. He is the central figure – it is a picture of him. So who is the bisexual in the image? What is the image attempting to do? It seems that the goal is to titillate, to excite, and to satisfy a particularly heterosexual fantasy rather than to discuss bisexuality. This hypersexualization once again references the mistaken idea (or heterosexual male fantasy) that bisexuality is only expressed through simultaneous sex acts.Many of these examples are salacious but they occur with surprising regularity in the mainstream media. On 17 February 2016, the American Association of Retired Persons posted an article to the front page of their website titled “Am I Discovering I'm Bisexual?” (Schwartz, 2016). In the accompanying image at the top of the article, we see three people sitting on a park bench – two men on either side of a woman. The image is taken from behind the bench so we see their backs and ostensibly they do not see us, the viewer. The man on the left is kissing the woman in the center while also holding hands behind the back of the bench with the man sitting on her other side. The man on the right is looking away from the couple kissing, suggesting he is not directly included in their intimate activity. Furthermore, the two men are holding hands behind the bench, which could also be code for behind the woman’s back, suggesting infidelity to the dyad and depicting some form of duplicity. This triad reinforces the trope of the bisexual as promiscuous and untrustworthy.Images such as these are common and range from the more inoffensive to the salacious. The resulting implications are that bisexuals are torn between their internal hetero and homo desires, require simultaneous partners, and are untrustworthy partners. Notably, in all these images it is never clear exactly which individuals are bisexual. Are all three members of the triad bisexual? While this is a possible read, the dominant discourse leads us to believe that one of person in the triad is the bisexual while the others adhere to more dominant sexualities.Participants in my research were acutely aware of these media representations and expressed frequent negative reactions to the implications of the triad. Each article contained numerous online comments expressing frustration with the use of “threesomes.” As one commentator stated: “Without a threesome, we’re invisible. It’s messed up. I always imagine a t-shirt with 3 couples stick figure like: girl + girl, girl + boy, and boy + boy. and it says “6 bisexuals.” What is made clear in many user comments is that the mainstream social scripts used to portray bisexuality are clearly at odds with the ways in which bisexuals choose to describe or portray themselves. Seeing through CapitalismOne of the significant conclusions of this research was the ways in which the misrepresentation of bisexuality results in many individuals feeling underrepresented or made invisible within mainstream media. The most salient themes to emerge from this research is participants’ affective struggle with feeling "invisible.” The frequency of discourse specific to invisibility is significant, as well as its expressed negatively associated experiences and feelings. The public sharing of those reactions among individuals, and the ensuing discourse that emerges from those interactions, include imagining what visibility “looks” like (its semiotic markers and what would make those markers “successful” for visibility), and the articulation of “solutions” to counter perceived invisibility. Notably, participants often express the desire for visibility in terms of commodification. As one participant posted, “their [sic] is no style for bi, there is no voice tone, unless I'm wearing my shirt, how is anyone to know?” Another participant explicated, “I wish there was a look. I wish I could get up every day and put on the clothes and jewelry that identified me to the world when I stepped out of my apartment. I wish I was as visible on the street as I am on facebook.” This longing for a culturally recognizable bisexual identity is articulated as a desire for a market commodification of “bisexual.” But a commodified identity may be a misguided desire. As Berger warns: “Publicity is not merely an assembly of competing messages: it is a language in itself which is always being used to make the same general purpose… It proposes to each of us that we transform ourselves, or our lives, by buying something more” (131). Consumerism—and its bedfellow—marketing, aim to sell the fantasy of a future self whereby the consumer transforms themselves through material objects, not transforming the culture to accept them. Berger further elicits that marketing essentially convinces us that we are not whole the way we are and sells us the idea of a wholeness achieved through consumerism (134). Following Berger’s argument, this desire for a commodified identity, while genuine, may fundamentally undermine the autonomy bisexuals currently have insomuch as without a corporate brand, bisexual representations are more culturally malleable and therefore potentially more inclusive to the real diversity of bisexual identified people.However, Berger also rightly noted that “publicity is the culture of the consumer society. It propagates through images that society’s belief in itself” (139). Without any publicity, bisexuals are not wrong to feel invisible in a consumer culture. And yet “publicity turns consumption into a substitute for democracy. The choice of what one eats (or wears or drives) takes the place of significant political choice” (149). A commodified identity will not likely usher in meaningful political change in a culture where bisexuals experience worse mental health and discrimination outcomes than lesbian and gay people (LGBT Advisory Committee, 2011). Bisexuals Online: New Ways of SeeingThe Internet, which was touted early as a space of great potential for anonymity and exploration where visibility can be masked, here becomes the place where bisexuals try to make the perceived invisible ‘visible.’ Digital technologies and spaces provide particularly useful environments for participants of online bisexual spaces to negotiate issues of invisibility as participants construct visible identities through daily posts, threads, videos, and discourse in which bisexuality is discursively and visually imagined, produced, articulated, defended, and desired. But most importantly these digital technologies provide bisexuals with opportunities to counter misrepresentations in mainstream media. In the frequent example of intimate partners in the physical world rendering a bisexual’s identity invisible, participants of these online communities grapple with the seeming paradox of one’s offline self as the avatar and one’s online self as more fully integrated, represented, and recognized. One participant expressed this experience, remarking:I feel I'm more out online that offline. That's because, in the offline world there's the whole ''social assumptions'' issue. My co-workers, friends, etc, know I have a boyfriend, wich [sic] equals ''straight'' for most ppl out there. So, I'll out myself when the occasion comes (talking abt smn I used to date, the LGBT youth group I used to belong to, or usually just abt some girl I find attractive) and usually ppl are not surprised. Whereas online, my pic at Facebook (and Orkut) is a Bisexual Pride icon. I follow Bi groups on Twitter. I'm a member of bi groups. So, online it's spelled out, while offline ppl usually think me having a bf means I'm straight.The I Am Visible (IAV) campaign is just one example of an organized response to the perceived erasure of bisexuals in mainstream culture. Launched in January 2011 by Adrienne McCue (nee Williams), the executive director of the Bi Social Network, a non-profit organization aimed at bringing awareness to representations of bisexuality in media. The campaign was hosted on bisocialnetwork.com, with the goal to “stop biphobia and bi-erasure in our community, media, news, and entertainment,” Prior to going live, IAV implemented a six-month lead-up advertising campaign across multiple online bisexual forums, making it the most publicized new venture during the period of my study. IAV hosted user-generated videos and posters that followed the vernacular of coming out and provided emotional support for listeners who may be struggling with their identity in a world largely hostile to bisexuality. Perceived invisibility was the central theme of IAV, which was the most salient theme for every bisexual group I studied online.Perhaps the most notable video and still image series to come out of IAV were those including Emmy nominated Scottish actor Alan Cumming. Cumming, a long-time Broadway thespian and acclaimed film actor, openly identifies as bisexual and has criticized ‘gaystream’ outlets on more than one occasion for intentionally mislabeling him as ‘gay.’ As such, Alan Cumming is one of the most prominently celebrated bisexual celebrities during the time of my study. While there are numerous famous out gays and lesbians in the media industry who have lent their celebrity status to endorse LGBT political messages—such as Ellen DeGeneres, Elton John, and Neil Patrick Harris, to name a few—there have been notably fewer celebrities supporting bisexual specific causes. Therefore, Cummings involvement with IAV was significant for many bisexuals. His star status was perceived as contributing legitimacy to bisexuality and increasing cultural visibility for bisexuals.These campaigns to become more visible are based in the need to counteract the false media narrative, which is, in a sense, to educate the wider society as to what bisexuality is not. The campaigns are an attempt to repair the false messages which have been “learnt” and replace them with more accurate representations. The Internet provides bisexual activists with a tool with which they can work to correct the skewed media image of themselves. Additionally, the Internet has also become a place where bisexuals can more easily represent themselves through a wide variety of semiotic markers in ways which would be difficult or unacceptable offline. In these ways, the Internet has become a key device in bisexual activism and while it is important not to uncritically praise the technology it plays an important role in enabling correct representation. ReferencesBarker, Meg. "Heteronormativity and the Exclusion of Bisexuality in Psychology." Out in Psychology: Lesbian, Gay, Bisexual, Trans, and Queer Perspectives. Eds. Victoria Clarke and Elizabeth Peel. Chichester: Wiley, 2007. 86–118.Berger, John. Ways of Seeing. London: Penguin Books, 1972.Blumstein, Phillip W., and Pepper Schwartz. “Bisexuality: Some Social Psychological Issues.” Journal of Social Issues 33.2 (1977): 30–45.Browne, Tania. “Make Up Your Mind! The Science behind Bisexuality.” The Guardian 11 Apr. 2014.Denizet-Lewis, Benoit. "The Scientific Quest to Prove Bisexuality Exists." New York Times 20 Mar. 2014.Diamond, Lisa. Sexual Fluidity: Understanding Women's Love and Desire. Harvard UP, 2008.Diamond, Milton. “Homosexuality and Bisexuality in Different Populations.” Archives of Sexual Behavior 22.4 (1993): 291-310.Gates, Gary J. How Many People Are Lesbian, Gay, Bisexual and Transgender? Williams Institute, UCLA School of Law, 2011.Kinsey, Alfred, et al. Sexual Behavior in the Human Female. Philadelphia: Saunders, 1953.Klein, Fitz. The Bisexual Option. London: Routledge, 1978.Leland, J. “Not Gay, Not Straight: A New Sexuality Emerges.” Newsweek 17 July 1995: 44–50.Schwartz, P. “Am I Discovering I Am Bisexual?” AARP (2016). 20 Mar. 2016 <http://aarp.org/home-family/sex-intimacy/info-2016/discovering-bisexual-schwartz.html>.

The short story 'Sam’ is part of an original collection of short stories written as part of my MA creative thesis, Circo, which seeks to give voice to the queer community of Santurce, Puerto Rico through the integration of characters and storylines based on real queer Puerto Rican individuals and the personal experience I acquired being actively involved in Santurce’s LQBTQ community. These individuals’ queerness has led them to suffer misrepresentation and exclusion, as well as a social oppression that often denies them the freedom and opportunity to live genuinely validating lives. They inhabit what Homi K. Bhabha calls the ‘betwixt and between', that ‘in between’ space that allows individuals to elaborate strategies of selfhood that initiate new signs of identity (Mangham,p.4). Though inhabiting these spaces can allow for certain types of self-development, the largely traditional, heterosexual and conservative nature of Puerto Rico’s majority culture constantly pressures them to abide by normative gender stereotypes. Trans people thus feel the pull of the desire for ‘normalcy’ and the desire to find their ‘true’ self, which can keep them trapped in a stagnant world of ‘in-betweenness.’ Rather than play the victim, though, they embrace their limbo existence and make it into a productive space of expression and personal development.

'Shut up, Graeme; I want to see those two rooting.'-- Description by a spectator of her own thoughts during Bulldog Front, Underground Productions, Cement Box Theatre, Brisbane, June 1999. A split scene in a small theatre, with a transverse stage faced from both sides by audiences. On a raised platform, two co-workers from a recruitment firm hired to sell forced-labour camps for the unemployed to the Australian public extend their awkward flirtation to a slow, gentle sexual encounter. Separated by several metres and a small patch of light, their shaven-headed supervisor stares down a gun barrel wielded by a former employee who has sold the firm's secrets to a competitor, then returned to negotiate terms of blackmail regarding their new contract. The scenes, observed and reported on by two other employees (as characters and as actors) from the space of the audience, end simultaneously. As the sounds of heterosexual coitus reach a (relatively) subdued climax, the former employee, a young man utterly unprepared for the reaction his threat receives, falls through the window of the office as he writhes away from the supervisor's angry tirade. Is this exploitative? If so, of whom and in what way? From March to June of this year, my co-workers and I on the Bulldog Front project at the University of Queensland attempted to realise the political potential of a physically-oriented rehearsal style. The mode of operation of the show -- the way it was rehearsed and performed, as well as the mode of its reception (for the audience only sees the 'product', one of the thorns in the side of 'experimental' praxis the world over) -- concentrated almost entirely upon the labour of the actors to develop and realise the operation of political forces through physical action. The politicisation of bodily desire within this framework was not an avowed intention at the beginning on the process, neither textually nor in the conception of the action by the creative team. However, the role of discourses regarding desire asserted themselves repeatedly in the course of realising the action -- and the interesting aspect is how easily, in comparison to methods of work we had experienced previously, this process allowed us -- in fact, forced us -- to address the social implications of specifically sexual desire within a textual matrix which often actively marginalised it. The scene in question did not arise, for instance, because of some misguided wish on the part of the producers to include a 'sex scene'. Indeed, the scene took place in low light, with clothes remaining in place - the action was obviously mimed, although the actor's bodies were in full contact. The violence in the other part of the split scene, by way of comparison, took on several sexualised manifestations, including the obviously phallic weapon and the grabbing of the employee's crotch while he cowered on a table. Contextually, the play's action up to that point had attempted to diversify the largely homosocial contact of the office and street in question in terms of the manifestation of male sexuality. The male co-worker in the 'sex' scene, Anthony, was engaging in intercourse with the newly-employed daughter of the company's owner. Throughout the play, Anthony's sometimes overtly sexual attitude to his work -- 'straight to bed on both of 'em,' he claims of his ability to derive (non-sexual) favours from the employees of a prospective 'victim' -- engaged in a dialogue with his attitudes towards his own sexual relations. The character of Teara, his co-participant, was by contrast desexualised in the office context -- or so it might have seemed in the text. An examination of the play reveals that other factors -- notably the fact that it's her first day back after working in Europe for three years -- mediate this verbal marginalisation. But to what extent can her later sacrifice of the relationship that develops between them -- and, indeed, of Anthony's life -- be read into her actions with regard to the staged encounter, particularly because she plays pursuer far more than pursued (Anthony, it seems, being far from competent in this area)? Is she sublimating her father-murder (her wish to take over the company) into physical 'conquest' of Anthony, who seems the perfect candidate according to the arrayed forces within the company (or the society)? Does this masculinised reading of her actions rob her of female psycho-identity? Does the anecdotal evidence of female audience members saying they enjoyed this scene more than any of the others have any relevance to the question of exploitation? Do any of these questions matter? What place, it may be asked, does desire have in the creation of a theatre of politics? It has, I would argue, everything to do with it. The question of exploitation or misrepresentation is not only a real one, it is anything but a side issue. This is not a question derived from guilt, either male or Catholic in my case, but from a wish to challenge the mode of storytelling without compromising the story I wish to tell, which must involve an ongoing inquiry as to what exactly -- and where exactly -- that story is. 'Desire' in this context should be read as that contact between actors which can be sexualised in terms of the discourses of the body -- and the reason why I state that 'desire was not the point' is that there was less of that in this fairly passionate production than I, for one, had expected. However, no opportunity for inquiry into this sexualisation had to be avoided, simply because the methodology of rehearsal (for a reference point, look to Thomas Richards's At Work with Grotowski on Physical Actions) allowed the physicalisation of impulses which did not have to necessarily engage directly with the social situation as experienced by the actor. Most productions of my experience, it must be noted, begin with the actor -- usually her or his 'mind', in the form of seated and abstracted discussion about the possiblity of the concrete event of the text. From such seeds, many stunted representations and discursive effects of erotic and thanotic desire have sprung -- it is not an accident that displays of passion in Hamlet, the tragedy most self-consciously elevated by theatre cognoscenti, are ones of frustation. This frustation is doubtless a familiar one to many Western actors, precisely because the terms of their theatre are not constructed from the inside to even acknowledge, much less codify or liberate, desire. The address of such issues in 'psychological' terms usually ends up translating various social codes which have been assimilated by the actor regarding her/his own sexuality into the action of the play -- or more often, into the process of rehearsal, where they are often challenged by the actor for 'personal reasons' or eliminated by the producers for the 'public safety'. This is not to say that all productions which do not include a cornucopia of sexual acts, or even suggestions thereof, are concessions of artistic dignity or political commitment. The subject of this article cannot, for reasons of space, be about even the barest generalities regarding the topic of realising sexual desire -- even simply heterosexual desire, as if there were anything simple about it -- on the stage or between actors. The question remains one, then, of: did we -- that is to say, as writer/director, did I -- exploit the performers as sexual beings, either deliberately or through failing to satisfactorily address the issues of desire's representation in the production? Did I, while juxtaposing consensual heterosexual intercourse with sadomasochistic homoeros, merely read the desire of the female character into a phallocentric mode of discourse? Or is the question that I would prefer to ask (and the answer to that is emphatically 'yes'): Was the scene staged simply in order to excite the desire of the paying customer to see heterosexual intercourse? I can claim, and to my mind rightly, that the answer is 'no', and I'm off the hook -- I can tell myself I am not a pornographer. But take the word 'simply' out of the sentence, and we're back to square one, because something else was obviously going on. The question of whether or not the contexual devices employed in this scene justified the staged manifestations of desire is one for the individual audience member. The point of this article is to explain my thinking about the scene; it is also to explain how, to my mind, the approach to the actor's craft is a vital and near-neglected area of contestation with regard to how desire begins to be staged, and how modifications of the performer's act by the director impact upon the physicalisation of -- among other things -- heterosexual desire. The performance which seeks to address social forces in its approach to the action, as well as the dramatic elements of the action itself, must continually ask such questions without forgetting that a performance is not a lecture (and if every fibre is infused with the spirit of inquiry, it doesn't have to be). This is the promise of a performance approach to political theatre that doesn't just base itself in intellectual analysis. References Thomas Richards. At Work with Grotowski on Physical Actions. London: Routledge, 1995. Citation reference for this article MLA style: Marcel Dorney. "Don't Lean on the Window: Desire's Presence and Representation in Political Drama." M/C: A Journal of Media and Culture 2.5 (1999). [your date of access] <http://www.uq.edu.au/mc/9907/window.php>. Chicago style: Marcel Dorney, "Don't Lean on the Window: Desire's Presence and Representation in Political Drama," M/C: A Journal of Media and Culture 2, no. 5 (1999), <http://www.uq.edu.au/mc/9907/window.php> ([your date of access]). APA style: Marcel Dorney. (1999) Don't lean on the window: desire's presence and representation in political drama. M/C: A Journal of Media and Culture 2(5). <http://www.uq.edu.au/mc/9907/window.php> ([your date of access]).

The L Word: Generation Q is the reboot of The L Word, a long running series about a group of lesbians and bisexuals in Los Angeles in the early 2000s. Both programmes are unique in their positioning of lesbian characters and have been well received by audiences and critics alike. These programmes present a range of characters and narratives, previously excluded from mainstream film and television, bringing a refreshing change from the destructive images typically presented before. We argue that the reboot Generation Q now offers more meaningful representation of the broader lesbian and transgender communities, and discuss its relevance in the changing portrayals of gay representation. Gay visibility has never really been an issue in the movies. Gays have always been visible. It is how they have been visible that has remained offensive for almost a century. (Russo 66) In 2004 The L Word broke new ground as the very first television series written and directed by predominantly queer women. This set it apart from previous representations of lesbians by Hollywood because it portrayed a community rather than an isolated or lone lesbian character, that was extraneous to a cast of heterosexuals (Moore and Schilt). The series brought change, and where Hollywood was more often “reluctant to openly and non-stereotypically engage with gay subjects and gay characters” (Baker 41), the L Word offered an alternative to the norm in media representation. “The L Word’s significance lies in its very existence” according to Chambers (83), and this article serves to consider this significance in conjunction with its 2019 reboot, the L Word: Generation Q, to ascertain if the enhanced visibility and gay representation influences the system of representation that has predominantly been excluding and misrepresentative of gay life. The exclusion of authentic representation of lesbians and gays in Hollywood film is not new. Over time, however, there has been an increased representation of gay characters in film and television. However, beneath the positive veneer remains a morally disapproving undertone (Yang), where lesbians and gays are displayed as the showpiece of the abnormal (Gross, "Out of the Mainstream"). Gross ("Out of the Mainstream") suggests that through the ‘othering’ of lesbians and gays within media, a means of maintaining the moral order is achieved, and where being ‘straight’ results in a happy ending. Lesbians and gays in film thus achieve what Gerbner referred to as symbolic annihilation, purposefully created in a bid to maintain the social inequity. This form of exclusion often saw controversial gay representation, with a history of portraying these characters in a false, excluding, and pejorative way (Russo; Gross, "What Is Wrong"; Hart). The history of gay representation in media had at times been monstrous, playing out the themes of gay sexuality as threatening to heterosexual persons and communities (Juárez). Gay people were incorrectly stereotyped, and gay lives were seen through the slimmest of windows. Walters (15) argued that it was “too often” that film and television images would narrowly portray gays “as either desexualized or over sexualized”, framing their sexuality as the sole identity of the character. She also contested that gay characters were “shown as nonthreatening and campy 'others' or equally comforting and familiar boys (and they are usually boys, not girls) next door” (Walters 15). In Russo’s seminal text, The Celluloid Closet, he demonstrated that gay characters were largely excluded from genuine and thoughtful presentation in film, while the only option given to them was how they died. Gay activists and film makers in the 1980s and beyond built on the momentum of AIDS activism (Streitmatter) to bring films that dealt with gay subject matter more fairly than before, with examples like The Birdcage, Philadelphia, To Wong Foo, Thanks for Everything! Julie Newmar, and In and Out. Walters argues that while “mainstream films like Brokeback Mountain and The Kids are Alright entertain moviegoers with their forthright gay themes and scenes” (12), often the roles have been more of tokenisation, representing the “surprisingly gay characters in a tedious romcom, the coyly queer older man in a star-studded indie hit, the incidentally gay sister of the lead in a serious drama” (Walters 12). This ambivalence towards the gay role model in the media has had real world effects on those who identify themselves as lesbian or gay, creating feelings of self-hatred or of being ‘unacceptable’ citizens of society (Gamson), as media content “is an active component in the cultural process of shaping LGBT identities” (Sarkissian 147). The stigmatisation of gays was further identified by the respondents to a study on media and gay identity, where “the prevailing sentiment in these discussions was a sense of being excluded from traditional society” (Gomillion and Guiliano 343). Exclusion promotes segregation and isolation, and since television media are ever-present via conventional and web-based platforms, their messages are increasingly visible and powerful. The improved portrayal of gay characters was not just confined to the area of film and television however, and many publications produced major stories on bi-sexual chic, lesbian chic, the rise of gay political power and gay families. This process of greater inclusion, however, has not been linear, and in 2013 the media advocacy group known as the Gay and Lesbian Alliance against Defamation (GLAAD) mapped the quantity, quality, and diversity of LGBT people depicted in films, finding that there was still much work to be done to fairly include gay characters (GLAAD Studio Responsibility Index). In another report made in 2019, which examined cable and streaming media, GLAAD found that of the 879 regular characters expected to appear on broadcast scripted primetime programming, 10.2% were identified as gay, lesbian, bisexual, transgender and or queer (GLAAD Where Are We on TV). This was the highest number of queer characters recorded since the start of their reporting. In January 2004, Showtime launched The L Word, the first scripted cable television to focus chiefly on lesbians. Over the course of six seasons it explored the deep bonds that linked the members of an evolving lesbian friendship circle. The central themes of the programme were the love and friendship between the women, and it was a television programme structured by its own values and ideologies. The series offered a moral argument against the widespread sexism and anti-gay prejudice that was evident in media. The cast, however, were conventionally beautiful, gender normative, and expensively attired, leading to fears that the programme would appeal more to straight men, and that the sex in the programme would be exploitative and pornographic. The result, however, was that women’s sex and connection were foregrounded, and appeared as a central theme of the drama. This was, however, ground-breaking television. The showrunner of the original L Word, Ilene Chaiken, was aware of the often-damning account of lesbians in Hollywood, and the programme managed to convey an indictment of Hollywood (Mcfadden). The L Word increased lesbian visibility on television and was revolutionary in countering some of the exclusionary and damaging representation that had taken place before. It portrayed variations of lesbians, showing new positive representations in the form of power lesbians, sports lesbians, singles, and couples. Broadly speaking, gay visibility and representation can be marked and measured by levels of their exclusion and inclusion. Sedgwick said that the L Word was particularly important as it created a “lesbian ecology—a visible world in which lesbians exist, go on existing, exist in forms beyond the solitary and the couple, sustain and develop relations among themselves of difference and commonality” (xix). However, as much as this programme challenged the previous representations it also enacted a “Faustian bargain because television is a genre which ultimately caters to the desires and expectations of mainstream audiences” (Wolfe and Roripaugh 76). The producers knew it was difficult to change the problematic and biased representation of queer women within the structures of commercial media and understood the history of queer representation and its effects. Therefore, they had to navigate between the legitimate desire to represent lesbians as well as being able to attract a large enough mainstream audience to keep the show commercially viable. The L Word: Generation Q is the reboot of the popular series, and includes some of the old cast, who have also become the executive producers. These characters include Bette Porter, who in 2019 is running for the office of the Mayor of Los Angeles. Shane McCutchen returns as the fast-talking womanising hairdresser, and Alice Pieszecki in this iteration is a talk show host. When interviewed, Jennifer Beals (executive producer and Bette Porter actor) said that the programme is important, because there have been no new lesbian dramas to follow after the 2004 series ended (Beals, You Tube). Furthermore, the returning cast members believe the reboot is important because of the increased attacks that queer people have been experiencing since the election of Donald Trump in 2016. Between the two productions there have been changes in the film and television landscape, with additional queer programmes such as Pose, Orange Is the New Black, Euphoria, RuPaul’s Drag Race, and Are You the One, for example. The new L Word, therefore, needed to project a new and modern voice that would reflect contemporary lesbian life. There was also a strong desire to rectify criticism of the former show, by presenting an increased variation of characters in the 2019 series. Ironically, while the L Word had purposefully aimed to remove the negativity of exclusion through the portrayal of a group of lesbians in a more true-to-life account, the limited character tropes inadvertently marginalised other areas of lesbian and queer representation. These excluded characters were for example fully representative trans characters. The 2000s television industry had seemingly returned to a period of little interest in women’s stories generally, and though queer stories seeped into popular culture, there was no dedicated drama with a significant focus on lesbian story lines (Vanity Fair). The first iteration of The L Word was aimed at satisfying lesbian audiences as well as creating mainstream television success. It was not a tacky or pornographic television series playing to male voyeuristic ideals, although some critics believed that it included female-to-female sex scenes to draw in an additional male viewership (Anderson-Minshall; Graham). There was also a great emphasis on processing the concept of being queer. However, in the reboot Generation Q, the decision was made by the showrunner Marja-Lewis Ryan that the series would not be about any forms of ‘coming out stories’, and the characters were simply going about their lives as opposed to the burdensome tropes of transitioning or coming out. This is a significant change from many of the gay storylines in the 1990s that were seemingly all focussed on these themes. The new programme features a wider demographic, too, with younger characters who are comfortable with who they are. Essentially, the importance of the 2019 series is to portray healthy, varied representations of lesbian life, and to encourage accurate inclusion into film and television without the skewed or distorted earlier narratives. The L Word and L Word: Generation Q then carried the additional burden of countering criticisms The L Word received. Roseneil explains that creating both normalcy and belonging for lesbians and gays brings “cultural value and normativity” (218) and removes the psychosocial barriers that cause alienation or segregation. This “accept us” agenda appears through both popular culture and “in the broader national discourse on rights and belongings” (Walters 11), and is thus important because “representations of happy, healthy, well integrated lesbian and gay characters in film or television would create the impression that, in a social, economic, and legal sense, all is well for lesbians and gay men” (Schacter 729). Essentially, these programmes shouldered the burden of representation for the lesbian community, which was a heavy expectation. Critiques of the original L Word focussed on how the original cast looked as if they had all walked out of a high-end salon, for example, but in L Word: Generation Q this has been altered to have a much more DIY look. One of the younger cast members, Finlay, looks like someone cut her hair in the kitchen while others have styles that resemble YouTube tutorials and queer internet celebrities (Vanity Fair). The recognisable stereotypes that were both including and excluding have also altered the representation of the trans characters. Bette Porter’s campaign manager, for example, determines his style through his transition story, unlike Max, the prominent trans character from the first series. The trans characters of 2019 are comfortable in their own skins and supported by the community around them. Another important distinction between the representation of the old and new cast is around their material wealth. The returning cast members have comfortable lives and demonstrate affluence while the younger cast are less comfortable, expressing far more financial anxiety. This may indeed make a storyline that is closer to heterosexual communities. The L Word demonstrated a sophisticated awareness of feminist debates about the visual representation of women and made those debates a critical theme of the programme, and these themes have been expanded further in The L Word: Generation Q. One of the crucial areas that the programme/s have improved upon is to denaturalise the hegemonic straight gaze, drawing attention to the ways, conventions and techniques of reproduction that create sexist, heterosexist, and homophobic ideologies (McFadden). This was achieved through a predominantly female, lesbian cast that dealt with stories amongst their own friend group and relationships, serving to upend the audience position, and encouraging an alternative gaze, a gaze that could be occupied by anyone watching, but positioned the audience as lesbian. In concluding, The L Word in its original iteration set out to create something unique in its representation of lesbians. However, in its mission to create something new, it was also seen as problematic in its representation and in some ways excluding of certain gay and lesbian people. The L Word: Generation Q has therefore focussed on more diversity within a minority group, bringing normality and a sense of ‘realness’ to the previously skewed narratives seen in the media. In so doing, “perhaps these images will induce or confirm” to audiences that “lesbians and gay men are already ‘equal’—accepted, integrated, part of the mainstream” (Schacter 729). References Anderson-Minshall, Diane. “Sex and the Clittie, in Reading the L Word: Outing Contemporary Television.” Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 11–14. Are You the One? Presented by Ryan Devlin. Reality television programme. Viacom Media Networks, 2014. Baker, Sarah. “The Changing Face of Gay Representation in Hollywood Films from the 1990s Onwards: What’s Really Changed in the Hollywood Representation of Gay Characters?” The International Journal of Interdisciplinary Cultural Studies 10.4 (2015): 41–51. Brokeback Mountain. Dir. Ang Lee. Film. Focus Features, 2005. Chambers, Samuel. A. “Heteronormativity and The L Word: From a Politics of Representation to a Politics of Norms.” Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 81–98. Euphoria. Dir. Sam Levinson. Television Series. HBO, 2019. Gamson, Joshua. “Sweating in the Spotlight: Lesbian, Gay and Queer Encounters with Media and Popular Culture.” Handbook of Lesbian and Gay Studies.London: Sage, 2002. 339–354. Graham, Paula. “The L Word Under-whelms the UK?” Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 15–26. Gross, Larry. “What Is Wrong with this Picture? Lesbian Women and Gay Men on Television.” Queer Words, Queer Images: Communication and the Construction of Homosexuality. Ed. R.J. Ringer. New York: New York UP, 1994. 143–156. Gross, Larry. “Out of the Mainstream: Sexual Minorities and the Mass Media.” Gay People, Sex, and the Media. Eds. M. Wolf and A. Kielwasser. Haworth Press, 1991. 19–36. Hart, Kylo-Patrick. R. “Representing Gay Men on American Television.” Journal of Men’s Studies 9 (2000): 59–79. In and Out. Dir. Frank Oz. Film. Paramount Pictures, 1997. Juárez, Sergio Fernando. “Creeper Bogeyman: Cultural Narratives of Gay as Monstrous.” At the Interface / Probing the Boundaries 91 (2018): 226–249. McFadden, Margaret. T. The L Word. Wayne State University Press, 2014. Moore, Candace, and Kristin Schilt. “Is She Man Enough? Female Masculinities on The L Word.” Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 159–172. Orange Is the New Black. Dir. Jenji Johan. Web series. Netflix Streaming Services, 2003–. Philadelphia. Directed by Jonathan Demme. Film. Tristar Pictures, 1993. Pose. Dirs. Ryan Murphy, Steven Canals, and Brad Falchuk. Television series. Color Force, 2018. Roseneil, Sasha. “On Missed Encounters: Psychoanalysis, Queer Theory, and the Psychosocial Dynamics of Exclusion.” Studies in Gender and Sexuality 20.4 (2019): 214–219. RuPaul’s Drag Race. Directed by Nick Murray. Reality competition. Passion Distribution, 2009–. Russo, Vito. The Celluloid Closet. Rev. ed. New York: Harper & Row, 1987. Sarkissian, Raffi. “Queering TV Conventions: LGBT Teen Narratives on Glee.” Queer Youth and Media Cultures. Ed. C. Pullen. Palgrave Macmillan, 2014. 145–157. Sedgwick, Eve Kosofsky. “Foreword: The Letter L.” Reading 'The L Word’: Outing Contemporary Television. Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 20–25. Schacter, Jane S. “Skepticism, Culture and the Gay Civil Rights Debate in Post-Civil-Rights Era.” Harvard Law Review 110 (1997): 684–731. Streitmatter, Rodger. Perverts to Fab Five: The Media’s Changing Depiction of Gay Men and Lesbians. New York: Routledge. 2009. The Birdcage. Dir. Mike Nichols. Film. United Artists, 1995. The Kids Are Alright. Dir. Lisa Cholodenko. Film. Focus Features, 2010. The L Word. Created by Ilene Chaiken, Kathy Greenberg, and Michelle Abbott. TV drama. Showtime Networks, 2004–2009. The L Word: Generation Q. Prods. Ilene Chaiken, Jennifer Beals, Katherine Moennig, and Leisha Hailey. TV drama. Showtime Networks, 2019–. To Wong Foo, Thanks for Everything! Julie Newmar. Dir. Beeban Kidron. Film. Universal Pictures, 1995. Walters, Suzanna Danuta. The Tolerance Trap: How God, Genes and Good Intentions Are Sabotaging Gay Equality. New York: New York UP, 2014. Yang, Alan. "From Wrongs to Rights: Public Opinion on Gay and Lesbian Americans Moves towards Equality." New York: The Policy Institute of the National Gay and Lesbian Task Force, 1999.

‘Bitzer,’ said Thomas Gradgrind. ‘Your definition of a horse.’‘Quadruped. Graminivorous. Forty teeth, namely twenty-four grinders, four eye-teeth, and twelve incisive. Sheds coat in the spring; in marshy countries, sheds hoofs, too. Hoofs hard, but requiring to be shod with iron. Age known by marks in mouth.’ Thus (and much more) Bitzer.‘Now girl number twenty,’ said Mr. Gradgrind. ‘You know what a horse is.’— Charles Dickens, Hard Times (1854)Dickens’s famous pedant, Thomas Gradgrind, was not an anomaly. He is the pedagogical manifestation of the rise of quantification in modernism that was the necessary adjunct to massive urbanisation and industrialisation. His classroom caricatures the dominant epistemic modality of modern global democracies, our unwavering trust in numbers, “data”, and reproductive predictability. This brief quotation from Hard Times both presents and parodies the 19th century’s displacement of what were previously more commonly living and heterogeneous existential encounters with events and things. The world had not yet been made predictably repetitive through industrialisation, standardisation, law, and ubiquitous codes of construction. Theirs was much more a world of unique events and not the homogenised and orthodox iteration of standardised knowledge. Horses and, by extension, all entities and events gradually were displaced by their rote definitions: individuals of a so-called natural kind were reduced to identicals. Further, these mechanical standardisations were and still are underwritten by mapping them into a numerical and extensive characterisation. On top of standardised objects and procedures appeared assigned numerical equivalents which lent standardisation the seemingly apodictic certainty of deductive demonstrations. The algebraic becomes the socially enforced criterion for the previously more sensory, qualitative, and experiential encounters with becoming that were more likely in pre-industrial life. Here too, we see that the function of this reproductive protocol is not just notational but is the sine qua non for, in Althusser’s famous phrase, the manufacture of citizens as “subject subjects”, those concrete individuals who are educated to understand themselves ideologically in an imaginary relation with their real position in any society’s self-reproduction. Here, however, ideology performs that operation through that nominally least political of cognitive modes, the supposed friend of classical Marxism’s social science, the mathematical. The historical onset of this social and political reproductive hegemony, this uniform supplanting of time’s ineluctable differencing with the parasite of its associated model, can partial be found in the formation of metrics. Before the 19th century, the measures of space and time were local. Units of length and weight varied not just between nations but often by municipality. These parochial standards reflected indigenous traditions, actualities, personalities, and needs. This variation in measurement standards suggested that every exchange or judgment of kind and value relied upon the specificity of that instance. Every evaluation of an instance required perceptual acuity and not the banality of enumeration constituted by commodification and the accounting practices intrinsic to centralised governance. This variability in measure was complicated by similar variability in the currencies of the day. Thus, barter presented the participants with complexities and engagements of skills and discrete observation completely alien to the modern purchase of duplicate consumer objects with stable currencies. Almost nothing of life was iterative: every exchange was, more or less, an anomaly. However, in 1790, immediately following the French Revolution and as a central manifestation of its movement to rational democratisation, Charles Maurice de Talleyrand proposed a metrical system to the French National Assembly. The units of this metric system, based originally on observable features of nature, are now formally codified in all scientific practice by seven physical constants. Further, they are ubiquitous now in almost all public exchanges between individuals, corporations, and states. These units form a coherent and extensible structure whose elements and rules are subject to seemingly lossless symbolic exchange in a mathematic coherence aided by their conformity to decimal representation. From 1960, their basic contemporary form was established as the International System of Units (SI). Since then, all but three of the countries of the world (Myanmar, Liberia, and the United States), regardless of political organisation and individual history, have adopted these standards for commerce and general measurement. The uniformity and rational advantage of this system is easily demonstrable in just the absurd variation in the numeric bases of the Imperial / British system which uses base 16 for ounces/pounds, base 12 for inches/feet, base three for feet/yards, base 180 for degrees between freezing and cooling, 43,560 square feet per acre, eights for division of inches, etc. Even with its abiding antagonism to the French, Britain officially adopted the metric system as was required by its admission to the EU in 1973. The United States is the last great holdout in the public use of the metric system even though SI has long been the standard wanted by the federal government. At first, the move toward U.S. adoption was promising. Following France and rejecting England’s practice, America was founded on a decimal currency system in 1792. In 1793, Jefferson requested a copy of the standard kilogram from France in a first attempt to move to the metric system: however, the ship carrying the copy was captured by pirates. Indeed, The Metric Conversion Act of 1975 expressed a more serious national intention to adopt SI, but after some abortive efforts, the nation fell back into the more archaic measurements dominant since before its revolution. However, the central point remains that while the U.S. is unique in its public measurement standard among dominant powers, it is equally committed to the hegemonic application of a numerical rendition of events.The massive importance of this underlying uniformity is that it supplies the central global mechanism whereby the world’s chaotic variation is continuously parsed and supplanted into comparable, intelligible, and predictable units that understand individuating difference as anomaly. Difference, then, is understood in this method not as qualitative and intensive, which it necessarily is, but quantitative and extensive. Like Gradgrind’s “horse”, the living and unique thing is rendered through the Apollonian dream of standardisation and enumeration. While differencing is the only inherent quality of time’s chaotic flow, accounting and management requite iteration. To order the reproduction of modern society, the unique individuating differences that render an object as “this one”, what the Medieval logicians called haecceities, are only seen as “accidental” and “non-essential” deviations. This is not just odd but illogical since these very differences allow events to be individuated items so to appear as countable at all. As Leibniz’s principle, the indiscernibility of identicals, suggests, the application of the metrical same to different occasions is inherently paradoxical: if each unit were truly the same, there could only be one. As the etymology of “anomaly” suggests, it is that which is unexpected, irregular, out of line, or, going back to the Greek, nomos, at variance with the law. However, as the only “law” that always is at hand is the so-called “Second Law of Thermodynamics”, the inconsistently consistent roiling of entropy, the evident theoretical question might be, “how is anomaly possible when regularity itself is impossible?” The answer lies not in events “themselves” but exactly in the deductive valorisations projected by that most durable invention of the French Revolution adumbrated above, the metric system. This seemingly innocuous system has formed the reproductive and iterative bias of modern post-industrial perceptual homogenisation. Metrical modeling allows – indeed, requires – that one mistake the metrical changeling for the experiential event it replaces. Gilles Deleuze, that most powerful French metaphysician (1925-1995) offers some theories to understand the seminal production (not reproduction) of disparity that is intrinsic to time and to distinguish it from its homogenised representation. For him, and his sometime co-author, Felix Guattari, time’s “chaosmosis” is the host constantly parasitised by its symbolic model. This problem, however, of standardisation in the face of time’s originality, is obscured by its very ubiquity; we must first denaturalise the seemingly self-evident metrical concept of countable and uniform units.A central disagreement in ancient Greece was between the proponents of physis (often translated as “nature” but etymologically indicative of growth and becoming, process and not fixed form) and nomos (law or custom). This is one of the first ethical and so political debates in Western philosophy. For Heraclitus and other pre-Socratics, the emphatic character of nature was change, its differencing dynamism, its processual but not iterative character. In anticipation of Hume, Sophists disparaged nomos (νόμος) as simply the habituated application of synthetic law and custom to the fluidity of natural phenomena. The historical winners of this debate, Plato and the scientific attitudes of regularity and taxonomy characteristic of his best pupil, Aristotle, have dominated ever since, but not without opponents.In the modern era, anti-enlightenment figures such as Hamann, Herder, and the Schlegel brothers gave theoretical voice to romanticism’s repudiation of the paradoxical impulses of the democratic state for regulation and uniformity that Talleyrand’s “revolutionary” metrical proposal personified. They saw the correlationalism (as adumbrated by Meillassoux) between thought and thing based upon their hypothetical equitability as a betrayal of the dynamic physis that experience presented. Variable infinity might come either from the character of God or nature or, as famously in Spinoza’s Ethics, both (“deus sive natura”). In any case, the plenum of nature was never iterative. This rejection of metrical regularity finds its synoptic expression in Nietzsche. As a classicist, Nietzsche supplies the bridge between the pre-Socratics and the “post-structuralists”. His early mobilisation of the Apollonian, the dream of regularity embodied in the sun god, and the Dionysian, the drunken but inarticulate inexpression of the universe’s changing manifold, gives voice to a new resistance to the already dominate metrical system. His is a new spin of the mythic representatives of Nomos and physis. For him, this pair, however, are not – as they are often mischaracterised – in dialectical dialogue. To place them into the thesis / antithesis formulation would be to give them the very binary character that they cannot share and to, tacitly, place both under Apollo’s procedure of analysis. Their modalities are not antithetical but mutually exclusive. To represent the chaotic and non-iterative processes of becoming, of physis, under the rubric of a common metrics, nomos, is to mistake the parasite for the host. In its structural hubris, the ideological placebo of metrical knowing thinks it non-reductively captures the multiplicity it only interpellates. In short, the polyvalent, fluid, and inductive phenomena that empiricists try to render are, in their intrinsic character, unavailable to deductive method except, first, under the reductive equivalence (the Gradgrind pedagogy) of metrical modeling. This incompatibility of physis and nomos was made manifest by David Hume in A Treatise of Human Nature (1739-40) just before the cooptation of the 18th century’s democratic revolutions by “representative” governments. There, Hume displays the Apollonian dream’s inability to accurately and non-reductively capture a phenomenon in the wild, free from the stringent requirements of synthetic reproduction. His argument in Book I is succinct.Now as we call every thing custom, which proceeds from a past repetition, without any new reasoning or conclusion, we may establish it as a certain truth, that all the belief, which follows upon any present impression, is deriv'd solely from that origin. (Part 3, Section 8)There is nothing in any object, consider'd in itself, which can afford us a reason for drawing a conclusion beyond it; ... even after the observation of the frequent or constant conjunction of objects, we have no reason to draw any inference concerning any object beyond those of which we have had experience. (Part 3, Section 12)The rest of mankind ... are nothing but a bundle or collection of different perceptions, which succeed each other with an inconceivable rapidity, and are in a perpetual flux and movement. (Part 4, Section 6)In sum, then, nomos is nothing but habit, a Pavlovian response codified into a symbolic representation and, pragmatically, into a reproductive protocol specifically ordered to exclude anomaly, the inherent chaotic variation that is the hallmark of physis. The Apollonian dream that there can be an adequate metric of unrestricted natural phenomena in their full, open, turbulent, and manifold becoming is just that, a dream. Order, not chaos, is the anomaly. Of course, Kant felt he had overcome this unacceptable challenge to rational application to induction after Hume woke him from his “dogmatic slumber”. But what is perhaps one of the most important assertions of the critiques may be only an evasion of Hume’s radical empiricism: “there are only two ways we can account for the necessary agreement of experience with the concepts of its objects: either experience makes these concepts possible or these concepts make experience possible. The former supposition does not hold of the categories (nor of pure sensible intuition) ... . There remains ... only the second—a system ... of the epigenesis of pure reason” (B167). Unless “necessary agreement” means the dictatorial and unrelenting insistence in a symbolic model of perception of the equivalence of concept and appearance, this assertion appears circular. This “reading” of Kant’s evasion of the very Humean crux, the necessary inequivalence of a metric or concept to the metered or defined, is manifest in Nietzsche.In his early “On Truth and Lies in a Nonmoral Sense” (1873), Nietzsche suggests that there is no possible equivalence between a concept and its objects, or, to use Frege’s vocabulary, between sense or reference. We speak of a "snake" [see “horse” in Dickens]: this designation touches only upon its ability to twist itself and could therefore also fit a worm. What arbitrary differentiations! What one-sided preferences, first for this, then for that property of a thing! The various languages placed side by side show that with words it is never a question of truth, never a question of adequate expression; otherwise, there would not be so many languages. The "thing in itself" (which is precisely what the pure truth, apart from any of its consequences, would be) is likewise something quite incomprehensible to the creator of language and something not in the least worth striving for. This creator only designates the relations of things to men, and for expressing these relations he lays hold of the boldest metaphors.The literal is always already a reductive—as opposed to literature’s sometimes expansive agency—metaphorisation of events as “one of those” (a token of “its” type). The “necessary” equivalence in nomos is uncovered but demanded. The same is reproduced by the habitual projection of certain “essential qualities” at the expense of all those others residing in every experiential multiplicity. Only in this prison of nomos can anomaly appear: otherwise all experience would appear as it is, anomalous. With this paradoxical metaphor of the straight and equal, Nietzsche inverts the paradigm of scientific expression. He reveals as a repressive social and political obligation the symbolic assertion homology where actually none can be. Supposed equality and measurement all transpire within an Apollonian “dream within a dream”. The concept captures not the manifold of chaotic experience but supplies its placebo instead by an analytic tautology worthy of Gradgrind. The equivalence of event and definition is always nothing but a symbolic iteration. Such nominal equivalence is nothing more than shifting events into a symbolic frame where they can be commodified, owned, and controlled in pursuit of that tertiary equivalence which has become the primary repressive modality of modern societies: money. This article has attempted, with absurd rapidity, to hint why some ubiquitous concepts, which are generally considered self-evident and philosophically unassailable, are open not only to metaphysical, political, and ethical challenge, but are existentially unjustified. All this was done to defend the smaller thesis that the concept of anomaly is itself a reflection of a global misrepresentation of the chaos of becoming. This global substitution expresses a conservative model and measure of the world in the place of the world’s intrinsic heterogenesis, a misrepresentation convenient for those who control the representational powers of governance. In conclusion, let us look, again too briefly, at a philosopher who neither accepts this normative world picture of regularity nor surrenders to Nietzschean irony, Gilles Deleuze.Throughout his career, Deleuze uses the word “pure” with senses antithetical to so-called common sense and, even more, Kant. In its traditional concept, pure means an entity or substance whose essence is not mixed or adulterated with any other substance or material, uncontaminated by physical pollution, clean and immaculate. The pure is that which is itself itself. To insure intelligibility, that which is elemental, alphabetic, must be what it is itself and no other. This discrete character forms the necessary, if often tacit, precondition to any analysis and decomposition of beings into their delimited “parts” that are subject to measurement and measured disaggregation. Any entity available for structural decomposition, then, must be pictured as constituted exhaustively by extensive ones, measurable units, its metrically available components. Dualism having established as its primary axiomatic hypothesis the separability of extension and thought must now overcome that very separation with an adequacy, a one to one correspondence, between a supposedly neatly measurable world and ideological hegemony that presents itself as rational governance. Thus, what is needed is not only a purity of substance but a matching purity of reason, and it is this clarification of thought, then, which, as indicated above, is the central concern of Kant’s influential and grand opus, The Critique of Pure Reason.Deleuze heard a repressed alternative to the purity of the measured self-same and equivalent that, as he said about Plato, “rumbled” under the metaphysics of analysis. This was the dark tradition he teased out of the Stoics, Ockham, Gregory of Rimini, Nicholas d’Autrecourt, Spinoza, Meinong, Bergson, Nietzsche, and McLuhan. This is not the purity of identity, A = A, of metrical uniformity and its shadow, anomaly. Rather than repressing, Deleuze revels in the perverse purity of differencing, difference constituted by becoming without the Apollonian imposition of normalcy or definitional identity. One cannot say “difference in itself” because its ontology, its genesis, is not that of anything itself but exactly the impossibility of such a manner of constitution: universal anomaly. No thing or idea can be iterative, separate, or discrete.In his Difference and Repetition, the idea of the purely same is undone: the Ding an sich is a paradox. While the dogmatic image of thought portrays the possibility of the purely self-same, Deleuze never does. His notions of individuation without individuals, of modulation without models, of simulacra without originals, always finds a reflection in his attitudes toward, not language as logical structure, but what necessarily forms the differential making of events, the heterogenesis of ontological symptoms. His theory has none of the categories of Pierce’s triadic construction: not the arbitrary of symbols, the “self-representation” of icons, or even the causal relation of indices. His “signs” are symptoms: the non-representational consequences of the forces that are concurrently producing them. Events, then, are the symptoms of the heterogenetic forces that produce, not reproduce them. To measure them is to export them into a representational modality that is ontologically inapplicable as they are not themselves themselves but the consequences of the ongoing differences of their genesis. Thus, the temperature associated with a fever is neither the body nor the disease.Every event, then, is a diaphora, the pure consequent of the multiplicity of the forces it cannot resemble, an original dynamic anomaly without standard. This term, diaphora, appears at the conclusion of that dialogue some consider Plato’s best, the Theaetetus. There we find perhaps the most important discussion of knowledge in Western metaphysics, which in its final moments attempts to understand how knowledge can be “True Judgement with an Account” (201d-210a). Following this idea leads to a theory, usually known as the “Dream of Socrates”, which posits two kinds of existents, complexes and simples, and proposes that “an account” means “an account of the complexes that analyses them into their simple components … the primary elements (prôta stoikheia)” of which we and everything else are composed (201e2). This—it will be noticed—suggests the ancient heritage of Kant’s own attempted purification of mereological (part/whole relations) nested elementals. He attempts the coordination of pure speculative reason to pure practical reason and, thus, attempts to supply the root of measurement and scientific regularity. However, as adumbrated by the Platonic dialogue, the attempted decompositions, speculative and pragmatic, lead to an impasse, an aporia, as the rational is based upon a correspondence and not the self-synthesis of the diaphorae by their own dynamic disequilibrium. Thus the dialogue ends inconclusively; Socrates rejects the solution, which is the problem itself, and leaves to meet his accusers and quaff his hemlock. The proposal in this article is that the diaphorae are all that exists in Deleuze’s world and indeed any world, including ours. Nor is this production decomposable into pure measured and defined elementals, as such decomposition is indeed exactly opposite what differential production is doing. For Deleuze, what exists is disparate conjunction. But in intensive conjunction the same cannot be the same except in so far as it differs. The diaphorae of events are irremediably asymmetric to their inputs: the actual does not resemble the virtual matrix that is its cause. Indeed, any recourse to those supposedly disaggregate inputs, the supposedly intelligible constituents of the measured image, will always but repeat the problematic of metrical representation at another remove. This is not, however, the traditional postmodern trap of infinite meta-shifting, as the diaphoric always is in each instance the very presentation that is sought. Heterogenesis can never be undone, but it can be affirmed. In a heterogenetic monism, what was the insoluble problem of correspondence in dualism is now its paradoxical solution: the problematic per se. What manifests in becoming is not, nor can be, an object or thought as separate or even separable, measured in units of the self-same. Dogmatic thought habitually translates intensity, the differential medium of chaosmosis, into the nominally same or similar so as to suit the Apollonian illusions of “correlational adequacy”. However, as the measured cannot be other than a calculation’s placebo, the correlation is but the shadow of a shadow. Every diaphora is an event born of an active conjunction of differential forces that give rise to this, their product, an interference pattern. Whatever we know and are is not the correlation of pure entities and thoughts subject to measured analysis but the confused and chaotic confluence of the specific, material, aleatory, differential, and unrepresentable forces under which we subsist not as ourselves but as the always changing product of our milieu. In short, only anomaly without a nominal becomes, and we should view any assertion that maps experience into the “objective” modality of the same, self-evident, and normal as a political prestidigitation motivated, not by “truth”, but by established political interest. ReferencesDella Volpe, Galvano. Logic as a Positive Science. London: NLB, 1980.Deleuze, Gilles. Difference and Repetition. Trans. Paul Patton. New York: Columbia UP, 1994.———. The Logic of Sense. Trans. Mark Lester. New York: Columbia UP, 1990.Guenon, René. The Reign of Quantity. New York: Penguin, 1972.Hawley, K. "Identity and Indiscernibility." Mind 118 (2009): 101-9.Hume, David. A Treatise of Human Nature. Oxford: Clarendon, 2014.Kant, Immanuel. Critique of Pure Reason. Trans. Norman Kemp Smith. London: Palgrave Macmillan, 1929.Meillassoux, Quentin. After Finitude: An Essay on the Necessity of Contingency. Trans. Ray Brassier. New York: Continuum, 2008.Naddaf, Gerard. The Greek Concept of Nature. Albany: SUNY, 2005. Nietzsche, Friedrich. The Birth of Tragedy. Trans. Douglas Smith. Oxford: Oxford UP, 2008.———. “On Truth and Lies in a Nonmoral Sense.” Trans. Walter Kaufmann. The Portable Nietzsche. New York: Viking, 1976.Welch, Kathleen Ethel. "Keywords from Classical Rhetoric: The Example of Physis." Rhetoric Society Quarterly 17.2 (1987): 193–204.

augmentvb [ɔːgˈmɛnt]1. to make or become greater in number, amount, strength, etc.; increase2. Music: to increase (a major or perfect interval) by a semitone (Collins English Dictionary 107) Almost everything associated with Robert Johnson has been subject to some form of augmentation. His talent as a musician and songwriter has been embroidered by myth-making. Johnson’s few remaining artefacts—his photographic images, his grave site, other physical records of his existence—have attained the status of reliquary. Even the integrity of his forty-two surviving recordings is now challenged by audiophiles who posit they were musically and sonically augmented by speeding up—increasing the tempo and pitch. This article documents the promulgation of myth in the life and music of Robert Johnson. His disputed photographic images are cited as archetypal contested artefacts, augmented both by false claims and genuine new discoveries—some of which suggest Johnson’s cultural magnetism is so compelling that even items only tenuously connected to his work draw significant attention. Current challenges to the musical integrity of Johnson’s original recordings, that they were “augmented” in order to raise the tempo, are presented as exemplars of our on-going fascination with his life and work. Part literature review, part investigative history, it uses the phenomenon of augmentation as a prism to shed new light on this enigmatic figure. Johnson’s obscurity during his lifetime, and for twenty-three years after his demise in 1938, offered little indication of his future status as a musical legend: “As far as the evolution of black music goes, Robert Johnson was an extremely minor figure, and very little that happened in the decades following his death would have been affected if he had never played a note” (Wald, Escaping xv). Such anonymity allowed those who first wrote about his music to embrace and propagate the myths that grew around this troubled character and his apparently “supernatural” genius. Johnson’s first press notice, from a pseudonymous John Hammond writing in The New Masses in 1937, spoke of a mysterious character from “deepest Mississippi” who “makes Leadbelly sound like an accomplished poseur” (Prial 111). The following year Hammond eulogised the singer in profoundly romantic terms: “It still knocks me over when I think of how lucky it is that a talent like his ever found its way to phonograph records […] Johnson died last week at precisely the moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall” (19). The visceral awe experienced by subsequent generations of Johnson aficionados seems inspired by the remarkable capacity of his recordings to transcend space and time, reaching far beyond their immediate intended audience. “Johnson’s music changed the way the world looked to me,” wrote Greil Marcus, “I could listen to nothing else for months.” The music’s impact originates, at least in part, from the ambiguity of its origins: “I have the feeling, at times, that the reason Johnson has remained so elusive is that no one has been willing to take him at his word” (27-8). Three decades later Bob Dylan expressed similar sentiments over seven detailed pages of Chronicles: From the first note the vibrations from the loudspeaker made my hair stand up … it felt like a ghost had come into the room, a fearsome apparition …When he sings about icicles hanging on a tree it gives me the chills, or about milk turning blue … it made me nauseous and I wondered how he did that … It’s hard to imagine sharecroppers or plantation field hands at hop joints, relating to songs like these. You have to wonder if Johnson was playing for an audience that only he could see, one off in the future. (282-4) Such ready invocation of the supernatural bears witness to the profundity and resilience of the “lost bluesman” as a romantic trope. Barry Lee Pearson and Bill McCulloch have produced a painstaking genealogy of such a-historical misrepresentation. Early contributors include Rudi Blesch, Samuel B Charters, Frank Driggs’ liner notes for Johnson’s King of the Delta Blues Singers collection, and critic Pete Welding’s prolific 1960s output. Even comparatively recent researchers who ostensibly sought to demystify the legend couldn’t help but embellish the narrative. “It is undeniable that Johnson was fascinated with and probably obsessed by supernatural imagery,” asserted Robert Palmer (127). For Peter Guralnick his best songs articulate “the debt that must be paid for art and the Faustian bargain that Johnson sees at its core” (43). Contemporary scholarship from Pearson and McCulloch, James Banninghof, Charles Ford, and Elijah Wald has scrutinised Johnson’s life and work on a more evidential basis. This process has been likened to assembling a complicated jigsaw where half the pieces are missing: The Mississippi Delta has been practically turned upside down in the search for records of Robert Johnson. So far only marriage application signatures, two photos, a death certificate, a disputed death note, a few scattered school documents and conflicting oral histories of the man exist. Nothing more. (Graves 47) Such material is scrappy and unreliable. Johnson’s marriage licenses and his school records suggest contradictory dates of birth (Freeland 49). His death certificate mistakes his age—we now know that Johnson inadvertently founded another rock myth, the “27 Club” which includes fellow guitarists Brian Jones, Jimi Hendrix and Kurt Cobain (Wolkewitz et al., Segalstad and Hunter)—and incorrectly states he was single when he was twice widowed. A second contemporary research strand focuses on the mythmaking process itself. For Eric Rothenbuhler the appeal of Johnson’s recordings lies in his unique “for-the-record” aesthetic, that foreshadowed playing and song writing standards not widely realised until the 1960s. For Patricia Schroeder Johnson’s legend reveals far more about the story-tellers than it does the source—which over time has become “an empty center around which multiple interpretations, assorted viewpoints, and a variety of discourses swirl” (3). Some accounts of Johnson’s life seem entirely coloured by their authors’ cultural preconceptions. The most enduring myth, Johnson’s “crossroads” encounter with the Devil, is commonly redrawn according to the predilections of those telling the tale. That this story really belongs to bluesman Tommy Johnson has been known for over four decades (Evans 22), yet it was mistakenly attributed to Robert as recently as 1999 in French blues magazine Soul Bag (Pearson and McCulloch 92-3). Such errors are, thankfully, becoming less common. While the movie Crossroads (1986) brazenly appropriated Tommy’s story, the young walking bluesman in Oh, Brother, Where Art Thou? (2000) faithfully proclaims his authentic identity: “Thanks for the lift, sir. My name's Tommy. Tommy Johnson […] I had to be at that crossroads last midnight. Sell my soul to the devil.” Nevertheless the “supernatural” constituent of Johnson’s legend remains an irresistible framing device. It inspired evocative footage in Peter Meyer’s Can’t You Hear the Wind Howl? The Life and Music of Robert Johnson (1998). Even the liner notes to the definitive Sony Music Robert Johnson: The Centennial Edition celebrate and reclaim his myth: nothing about this musician is more famous than the word-of-mouth accounts of him selling his soul to the devil at a midnight crossroads in exchange for his singular mastery of blues guitar. It has become fashionable to downplay or dismiss this account nowadays, but the most likely source of the tale is Johnson himself, and the best efforts of scholars to present this artist in ordinary, human terms have done little to cut through the mystique and mystery that surround him. Repackaged versions of Johnson’s recordings became available via Amazon.co.uk and Spotify when they fell out of copyright in the United Kingdom. Predictable titles such as Contracted to the Devil, Hellbound, Me and the Devil Blues, and Up Jumped the Devil along with their distinctive “crossroads” artwork continue to demonstrate the durability of this myth [1]. Ironically, Johnson’s recordings were made during an era when one-off exhibited artworks (such as his individual performances of music) first became reproducible products. Walter Benjamin famously described the impact of this development: that which withers in the age of mechanical reproduction is the aura of the work of art […] the technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence. (7) Marybeth Hamilton drew on Benjamin in her exploration of white folklorists’ efforts to document authentic pre-modern blues culture. Such individuals sought to preserve the intensity of the uncorrupted and untutored black voice before its authenticity and uniqueness could be tarnished by widespread mechanical reproduction. Two artefacts central to Johnson’s myth, his photographs and his recorded output, will now be considered in that context. In 1973 researcher Stephen LaVere located two pictures in the possession of his half–sister Carrie Thompson. The first, a cheap “dime store” self portrait taken in the equivalent of a modern photo booth, shows Johnson around a year into his life as a walking bluesman. The second, taken in the Hooks Bros. studio in Beale Street, Memphis, portrays a dapper and smiling musician on the eve of his short career as a Vocalion recording artist [2]. Neither was published for over a decade after their “discovery” due to fears of litigation from a competing researcher. A third photograph remains unpublished, still owned by Johnson’s family: The man has short nappy hair; he is slight, one foot is raised, and he is up on his toes as though stretching for height. There is a sharp crease in his pants, and a handkerchief protrudes from his breast pocket […] His eyes are deep-set, reserved, and his expression forms a half-smile, there seems to be a gentleness about him, his fingers are extraordinarily long and delicate, his head is tilted to one side. (Guralnick 67) Recently a fourth portrait appeared, seemingly out of nowhere, in Vanity Fair. Vintage guitar seller Steven Schein discovered a sepia photograph labelled “Old Snapshot Blues Guitar B. B. King???” [sic] while browsing Ebay and purchased it for $2,200. Johnson’s son positively identified the image, and a Houston Police Department forensic artist employed face recognition technology to confirm that “all the features are consistent if not identical” (DiGiacomo 2008). The provenance of this photograph remains disputed, however. Johnson’s guitar appears overly distressed for what would at the time be a new model, while his clothes reflect an inappropriate style for the period (Graves). Another contested “Johnson” image found on four seconds of silent film showed a walking bluesman playing outside a small town cinema in Ruleville, Mississippi. It inspired Bob Dylan to wax lyrical in Chronicles: “You can see that really is Robert Johnson, has to be – couldn’t be anyone else. He’s playing with huge, spiderlike hands and they magically move over the strings of his guitar” (287). However it had already been proved that this figure couldn’t be Johnson, because the background movie poster shows a film released three years after the musician’s death. The temptation to wish such items genuine is clearly a difficult one to overcome: “even things that might have been Robert Johnson now leave an afterglow” (Schroeder 154, my italics). Johnson’s recordings, so carefully preserved by Hammond and other researchers, might offer tangible and inviolate primary source material. Yet these also now face a serious challenge: they run too rapidly by a factor of up to 15 per cent (Gibbens; Wilde). Speeding up music allowed early producers to increase a song’s vibrancy and fit longer takes on to their restricted media. By slowing the recording tempo, master discs provided a “mother” print that would cause all subsequent pressings to play unnaturally quickly when reproduced. Robert Johnson worked for half a decade as a walking blues musician without restrictions on the length of his songs before recording with producer Don Law and engineer Vincent Liebler in San Antonio (1936) and Dallas (1937). Longer compositions were reworked for these sessions, re-arranging and edited out verses (Wald, Escaping). It is also conceivable that they were purposefully, or even accidentally, sped up. (The tempo consistency of machines used in early field recordings across the South has often been questioned, as many played too fast or slow (Morris).) Slowed-down versions of Johnson’s songs from contributors such as Angus Blackthorne and Ron Talley now proliferate on YouTube. The debate has fuelled detailed discussion in online blogs, where some contributors to specialist audio technology forums have attempted to decode a faintly detectable background hum using spectrum analysers. If the frequency of the alternating current that powered Law and Liebler’s machine could be established at 50 or 60 Hz it might provide evidence of possible tempo variation. A peak at 51.4 Hz, one contributor argues, suggests “the recordings are 2.8 per cent fast, about half a semitone” (Blischke). Such “augmentation” has yet to be fully explored in academic literature. Graves describes the discussion as “compelling and intriguing” in his endnotes, concluding “there are many pros and cons to the argument and, indeed, many recordings over the years have been speeded up to make them seem livelier” (124). Wald ("Robert Johnson") provides a compelling and detailed counter-thesis on his website, although he does acknowledge inconsistencies in pitch among alternate master takes of some recordings. No-one who actually saw Robert Johnson perform ever called attention to potential discrepancies between the pitch of his natural and recorded voice. David “Honeyboy” Edwards, Robert Lockwood Jr. and Johnny Shines were all interviewed repeatedly by documentarians and researchers, but none ever raised the issue. Conversely Johnson’s former girlfriend Willie Mae Powell was visibly affected by the familiarity in his voice on hearing his recording of the tune Johnson wrote for her, “Love in Vain”, in Chris Hunt’s The Search for Robert Johnson (1991). Clues might also lie in the natural tonality of Johnson’s instrument. Delta bluesmen who shared Johnson’s repertoire and played slide guitar in his style commonly used a tuning of open G (D-G-D-G-B-G). Colloquially known as “Spanish” (Gordon 2002, 38-42) it offers a natural home key of G major for slide guitar. We might therefore expect Johnson’s recordings to revolve around the tonic (G) or its dominant (D) -however almost all of his songs are a full tone higher, in the key of A or its dominant E. (The only exceptions are “They’re Red Hot” and “From Four Till Late” in C, and “Love in Vain” in G.) A pitch increase such as this might be consistent with an increase in the speed of these recordings. Although an alternative explanation might be that Johnson tuned his strings particularly tightly, which would benefit his slide playing but also make fingering notes and chords less comfortable. Yet another is that he used a capo to raise the key of his instrument and was capable of performing difficult lead parts in relatively high fret positions on the neck of an acoustic guitar. This is accepted by Scott Ainslie and Dave Whitehill in their authoritative volume of transcriptions At the Crossroads (11). The photo booth self portrait of Johnson also clearly shows a capo at the second fret—which would indeed raise open G to open A (in concert pitch). The most persuasive reasoning against speed tampering runs parallel to the argument laid out earlier in this piece, previous iterations of the Johnson myth have superimposed their own circumstances and ignored the context and reality of the protagonist’s lived experience. As Wald argues, our assumptions of what we think Johnson ought to sound like have little bearing on what he actually sounded like. It is a compelling point. When Son House, Skip James, Bukka White, and other surviving bluesmen were “rediscovered” during the 1960s urban folk revival of North America and Europe they were old men with deep and resonant voices. Johnson’s falsetto vocalisations do not, therefore, accord with the commonly accepted sound of an authentic blues artist. Yet Johnson was in his mid-twenties in 1936 and 1937; a young man heavily influenced by the success of other high pitched male blues singers of his era. people argue that what is better about the sound is that the slower, lower Johnson sounds more like Son House. Now, House was a major influence on Johnson, but by the time Johnson recorded he was not trying to sound like House—an older player who had been unsuccessful on records—but rather like Leroy Carr, Casey Bill Weldon, Kokomo Arnold, Lonnie Johnson, and Peetie Wheatstraw, who were the big blues recording stars in the mid–1930s, and whose vocal styles he imitated on most of his records. (For example, the ooh-well-well falsetto yodel he often used was imitated from Wheatstraw and Weldon.) These singers tended to have higher, smoother voices than House—exactly the sound that Johnson seems to have been going for, and that the House fans dislike. So their whole argument is based on the fact that they prefer the older Delta sound to the mainstream popular blues sound of the 1930s—or, to put it differently, that their tastes are different from Johnson’s own tastes at the moment he was recording. (Wald, "Robert Johnson") Few media can capture an audible moment entirely accurately, and the idea of engineering a faithful reproduction of an original performance is also only one element of the rationale for any recording. Commercial engineers often aim to represent the emotion of a musical moment, rather than its totality. John and Alan Lomax may have worked as documentarians, preserving sound as faithfully as possible for the benefit of future generations on behalf of the Library of Congress. Law and Liebler, however, were producing exciting and profitable commercial products for a financial gain. Paradoxically, then, whatever the “real” Robert Johnson sounded like (deeper voice, no mesmeric falsetto, not such an extraordinarily adept guitar player, never met the Devil … and so on) the mythical figure who “sold his soul at the crossroads” and shipped millions of albums after his death may, on that basis, be equally as authentic as the original. Schroeder draws on Mikhail Bakhtin to comment on such vacant yet hotly contested spaces around the Johnson myth. For Bakhtin, literary texts are ascribed new meanings by consecutive generations as they absorb and respond to them. Every age re–accentuates in its own way the works of its most immediate past. The historical life of classic works is in fact the uninterrupted process of their social and ideological re–accentuation [of] ever newer aspects of meaning; their semantic content literally continues to grow, to further create out of itself. (421) In this respect Johnson’s legend is a “classic work”, entirely removed from its historical life, a free floating form re-contextualised and reinterpreted by successive generations in order to make sense of their own cultural predilections (Schroeder 57). As Graves observes, “since Robert Johnson’s death there has seemed to be a mathematical equation of sorts at play: the less truth we have, the more myth we get” (113). The threads connecting his real and mythical identity seem so comprehensively intertwined that only the most assiduous scholars are capable of disentanglement. Johnson’s life and work seem destined to remain augmented and contested for as long as people want to play guitar, and others want to listen to them. Notes[1] Actually the dominant theme of Johnson’s songs is not “the supernatural” it is his inveterate womanising. Almost all Johnson’s lyrics employ creative metaphors to depict troubled relationships. Some even include vivid images of domestic abuse. In “Stop Breakin’ Down Blues” a woman threatens him with a gun. In “32–20 Blues” he discusses the most effective calibre of weapon to shoot his partner and “cut her half in two.” In “Me and the Devil Blues” Johnson promises “to beat my woman until I get satisfied”. However in The Lady and Mrs Johnson five-time W. C. Handy award winner Rory Block re-wrote these words to befit her own cultural agenda, inverting the original sentiment as: “I got to love my baby ‘til I get satisfied”.[2] The Gibson L-1 guitar featured in Johnson’s Hooks Bros. portrait briefly became another contested artefact when it appeared in the catalogue of a New York State memorabilia dealership in 2006 with an asking price of $6,000,000. The Australian owner had apparently purchased the instrument forty years earlier under the impression it was bona fide, although photographic comparison technology showed that it couldn’t be genuine and the item was withdrawn. “Had it been real, I would have been able to sell it several times over,” Gary Zimet from MIT Memorabilia told me in an interview for Guitarist Magazine at the time, “a unique item like that will only ever increase in value” (Stewart 2010). References Ainslie, Scott, and Dave Whitehall. Robert Johnson: At the Crossroads – The Authoritative Guitar Transcriptions. Milwaukee: Hal Leonard Publishing, 1992. Bakhtin, Mikhail M. The Dialogic Imagination. Austin: University of Texas Press, 1982. Banks, Russell. “The Devil and Robert Johnson – Robert Johnson: The Complete Recordings.” The New Republic 204.17 (1991): 27-30. Banninghof, James. “Some Ramblings on Robert Johnson’s Mind: Critical Analysis and Aesthetic in Delta Blues.” American Music 15/2 (1997): 137-158. Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction. London: Penguin, 2008. Blackthorne, Angus. “Robert Johnson Slowed Down.” YouTube.com 2011. 1 Aug. 2013 ‹http://www.youtube.com/user/ANGUSBLACKTHORN?feature=watch›. Blesh, Rudi. Shining Trumpets: A History of Jazz. New York: Knopf, 1946. Blischke, Michael. “Slowing Down Robert Johnson.” The Straight Dope 2008. 1 Aug. 2013 ‹http://boards.straightdope.com/sdmb/showthread.php?t=461601›. Block, Rory. The Lady and Mrs Johnson. Rykodisc 10872, 2006. Charters, Samuel. The Country Blues. New York: De Capo Press, 1959. Collins UK. Collins English Dictionary. Glasgow: Harper Collins Publishers, 2010. DiGiacomo, Frank. “A Disputed Robert Johnson Photo Gets the C.S.I. Treatment.” Vanity Fair 2008. 1 Aug. 2013 ‹http://www.vanityfair.com/online/daily/2008/10/a-disputed-robert-johnson-photo-gets-the-csi-treatment›. DiGiacomo, Frank. “Portrait of a Phantom: Searching for Robert Johnson.” Vanity Fair 2008. 1 Aug. 2013 ‹http://www.vanityfair.com/culture/features/2008/11/johnson200811›. Dylan, Bob. Chronicles Vol 1. London: Simon & Schuster, 2005. Evans, David. Tommy Johnson. London: November Books, 1971. Ford, Charles. “Robert Johnson’s Rhythms.” Popular Music 17.1 (1998): 71-93. Freeland, Tom. “Robert Johnson: Some Witnesses to a Short Life.” Living Blues 150 (2000): 43-49. Gibbens, John. “Steady Rollin’ Man: A Revolutionary Critique of Robert Johnson.” Touched 2004. 1 Aug. 2013 ‹http://www.touched.co.uk/press/rjnote.html›. Gioia, Ted. Delta Blues: The Life and Times of the Mississippi Masters Who Revolutionised American Music. London: W. W. Norton & Co, 2008. Gioia, Ted. "Robert Johnson: A Century, and Beyond." Robert Johnson: The Centennial Collection. Sony Music 88697859072, 2011. Gordon, Robert. Can’t Be Satisfied: The Life and Times of Muddy Waters. London: Pimlico Books, 2002. Graves, Tom. Crossroads: The Life and Afterlife of Blues Legend Robert Johnson. Spokane: Demers Books, 2008. Guralnick, Peter. Searching for Robert Johnson: The Life and Legend of the "King of the Delta Blues Singers". London: Plume, 1998. Hamilton, Marybeth. In Search of the Blues: Black Voices, White Visions. London: Jonathan Cape, 2007. Hammond, John. From Spirituals to Swing (Dedicated to Bessie Smith). New York: The New Masses, 1938. Johnson, Robert. “Hellbound.” Amazon.co.uk 2011. 1 Aug. 2013 ‹http://www.amazon.co.uk/Hellbound/dp/B0063S8Y4C/ref=sr_1_cc_2?s=aps&ie=UTF8&qid=1376605065&sr=1-2-catcorr&keywords=robert+johnson+hellbound›. ———. “Contracted to the Devil.” Amazon.co.uk 2002. 1 Aug. 2013. ‹http://www.amazon.co.uk/Contracted-The-Devil-Robert-Johnson/dp/B00006F1L4/ref=sr_1_cc_1?s=aps&ie=UTF8&qid=1376830351&sr=1-1-catcorr&keywords=Contracted+to+The+Devil›. ———. King of the Delta Blues Singers. Columbia Records CL1654, 1961. ———. “Me and the Devil Blues.” Amazon.co.uk 2003. 1 Aug. 2013 ‹http://www.amazon.co.uk/Me-Devil-Blues-Robert-Johnson/dp/B00008SH7O/ref=sr_1_16?s=music&ie=UTF8&qid=1376604807&sr=1-16&keywords=robert+johnson›. ———. “The High Price of Soul.” Amazon.co.uk 2007. 1 Aug. 2013 ‹http://www.amazon.co.uk/High-Price-Soul-Robert-Johnson/dp/B000LC582C/ref=sr_1_39?s=music&ie=UTF8&qid=1376604863&sr=1-39&keywords=robert+johnson›. ———. “Up Jumped the Devil.” Amazon.co.uk 2005. 1 Aug. 2013 ‹http://www.amazon.co.uk/Up-Jumped-Devil-Robert-Johnson/dp/B000B57SL8/ref=sr_1_2?s=music&ie=UTF8&qid=1376829917&sr=1-2&keywords=Up+Jumped+The+Devil›. Marcus, Greil. Mystery Train: Images of America in Rock ‘n’ Roll Music. London: Plume, 1997. Morris, Christopher. “Phonograph Blues: Robert Johnson Mastered at Wrong Speed?” Variety 2010. 1 Aug. 2013 ‹http://www.varietysoundcheck.com/2010/05/phonograph-blues-robert-johnson-mastered-at-wrong-speed.html›. Oh, Brother, Where Art Thou? DVD. Universal Pictures, 2000. Palmer, Robert. Deep Blues: A Musical and Cultural History from the Mississippi Delta to Chicago’s South Side to the World. London: Penguin Books, 1981. Pearson, Barry Lee, and Bill McCulloch. Robert Johnson: Lost and Found. Chicago: University of Illinois Press, 2003. Prial, Dunstan. The Producer: John Hammond and the Soul of American Music. New York: Farrar, Straus and Giroux, 2006. Rothenbuhler, Eric W. “For–the–Record Aesthetics and Robert Johnson’s Blues Style as a Product of Recorded Culture.” Popular Music 26.1 (2007): 65-81. Rothenbuhler, Eric W. “Myth and Collective Memory in the Case of Robert Johnson.” Critical Studies in Media Communication 24.3 (2007): 189-205. Schroeder, Patricia. Robert Johnson, Mythmaking and Contemporary American Culture (Music in American Life). Chicago: University of Illinois Press, 2004. Segalstad, Eric, and Josh Hunter. The 27s: The Greatest Myth of Rock and Roll. Berkeley: North Atlantic Books, 2009. Stewart, Jon. “Rock Climbing: Jon Stewart Concludes His Investigation of the Myths behind Robert Johnson.” Guitarist Magazine 327 (2010): 34. The Search for Robert Johnson. DVD. Sony Pictures, 1991. Talley, Ron. “Robert Johnson, 'Sweet Home Chicago', as It REALLY Sounded...” YouTube.com 2012. 1 Aug. 2013. ‹http://www.youtube.com/watch?v=LCHod3_yEWQ›. Wald, Elijah. Escaping the Delta: Robert Johnson and the Invention of the Blues. London: HarperCollins, 2005. ———. The Robert Johnson Speed Recording Controversy. Elijah Wald — Writer, Musician 2012. 1 Aug. 2013. ‹http://www.elijahwald.com/johnsonspeed.html›. Wilde, John . “Robert Johnson Revelation Tells Us to Put the Brakes on the Blues: We've Been Listening to the Immortal 'King of the Delta Blues' at the Wrong Speed, But Now We Can Hear Him as He Intended.” The Guardian 2010. 1 Aug. 2013 ‹http://www.theguardian.com/music/musicblog/2010/may/27/robert-johnson-blues›. Wolkewitz, M., A. Allignol, N. Graves, and A.G. Barnett. “Is 27 Really a Dangerous Age for Famous Musicians? Retrospective Cohort Study.” British Medical Journal 343 (2011): d7799. 1 Aug. 2013 ‹http://www.bmj.com/content/343/bmj.d7799›.

This article reflects on part of a three-year battle over the redevelopment of an iconic Melbourne music venue, the Palace-Metro Nightclub (the Palace), involving the tactical use of Facebook Page data at trial. We were invited by the Save the Palace group, Melbourne City Council and the National Trust of Australia to provide Facebook Page data analysis as evidence of the social value of the venue at an appeals trial heard at the Victorian Civil Administration Tribunal (VCAT) in 2016. We take a reflexive ethnographic approach here to explore the data production, collection and analysis processes as these represent and constitute a “data public”.Although the developers won the appeal and were able to re-develop the site, the court accepted the validity of social media data as evidence of the building’s social value (Jinshan Investment Group Pty Ltd v Melbourne CC [2016] VCAT 626, 117; see also Victorian Planning Reports). Through the case, we elaborate on the concept of data publics by considering the “affordising” (Pollock) processes at play when extracting, analysing and visualising social media data. Affordising refers to the designed, deliberate and incidental effects of datafication and highlights the need to attend to the capacities for data collection and processing as they produce particular analytical outcomes. These processes foreground the compositional character of data publics, and the unevenness of data literacies (McCosker “Data Literacies”; Gray et al.) as a factor of the interpersonal and institutional capacity to read and mobilise data for social outcomes.We begin by reconsidering the often-assumed connection between social media data and their publics. Taking onboard theoretical accounts of publics as problem-oriented (Dewey) and dynamically constituted (Kelty), we conceptualise data publics through the key elements of a) consequentiality, b) sufficient connection over time, c) affective or emotional qualities of connection and interaction with the events. We note that while social data analytics may be a powerful tool for public protest, it equally affords use against public interests and introduces risks in relation to a lack of transparency, access or adequate data literacy.Urban Protest and Data Publics There are many examples globally of the use of social media to engage publics in battles over urban development or similar issues (e.g. Fredericks and Foth). Some have asked how social media might be better used by neighborhood organisations to mobilise protest and save historic buildings, cultural landmarks or urban sites (Johnson and Halegoua). And we can only note here the wealth of research literature on social movements, protest and social media. To emphasise Gerbaudo’s point, drawing on Mattoni, we “need to account for how exactly the use of these media reshapes the ‘repertoire of communication’ of contemporary movements and affects the experience of participants” (2). For us, this also means better understanding the role that social data plays in both aiding and reshaping urban protest or arming third sector groups with evidence useful in social institutions such as the courts.New modes of digital engagement enable forms of distributed digital citizenship, which Meikle sees as the creative political relationships that form through exercising rights and responsibilities. Associated with these practices is the transition from sanctioned, simple discursive forms of social protest in petitions, to new indicators of social engagement in more nuanced social media data and the more interactive forms of online petition platforms like change.org or GetUp (Halpin et al.). These technical forms code publics in specific ways that have implications for contemporary protest action. That is, they provide the operational systems and instructions that shape social actions and relationships for protest purposes (McCosker and Milne).All protest and social movements are underwritten by explicit or implicit concepts of participatory publics as these are shaped, enhanced, or threatened by communication technologies. But participatory protest publics are uneven, and as Kelty asks: “What about all the people who are neither protesters nor Twitter users? In the broadest possible sense this ‘General Public’ cannot be said to exist as an actual entity, but only as a kind of virtual entity” (27). Kelty is pointing to the porous boundary between a general public and an organised public, or formal enterprise, as a reminder that we cannot take for granted representations of a public, or the public as a given, in relation to Like or follower data for instance.If carefully gauged, the concept of data publics can be useful. To start with, the notions of publics and publicness are notoriously slippery. Baym and boyd explore the differences between these two terms, and the way social media reconfigures what “public” is. Does a Comment or a Like on a Facebook Page connect an individual sufficiently to an issues-public? As far back as the 1930s, John Dewey was seeking a pragmatic approach to similar questions regarding human association and the pluralistic space of “the public”. For Dewey, “the machine age has so enormously expanded, multiplied, intensified and complicated the scope of the indirect consequences [of human association] that the resultant public cannot identify itself” (157). To what extent, then, can we use data to constitute a public in relation to social protest in the age of data analytics?There are numerous well formulated approaches to studying publics in relation to social media and social networks. Social network analysis (SNA) determines publics, or communities, through links, ties and clustering, by measuring and mapping those connections and to an extent assuming that they constitute some form of sociality. Networked publics (Ito, 6) are understood as an outcome of social media platforms and practices in the use of new digital media authoring and distribution tools or platforms and the particular actions, relationships or modes of communication they afford, to use James Gibson’s sense of that term. “Publics can be reactors, (re)makers and (re)distributors, engaging in shared culture and knowledge through discourse and social exchange as well as through acts of media reception” (Ito 6). Hashtags, for example, facilitate connectivity and visibility and aid in the formation and “coordination of ad hoc issue publics” (Bruns and Burgess 3). Gray et al., following Ruppert, argue that “data publics are constituted by dynamic, heterogeneous arrangements of actors mobilised around data infrastructures, sometimes figuring as part of them, sometimes emerging as their effect”. The individuals of data publics are neither subjugated by the logics and metrics of digital platforms and data structures, nor simply sovereign agents empowered by the expressive potential of aggregated data (Gray et al.).Data publics are more than just aggregates of individual data points or connections. They are inherently unstable, dynamic (despite static analysis and visualisations), or vibrant, and ephemeral. We emphasise three key elements of active data publics. First, to be more than an aggregate of individual items, a data public needs to be consequential (in Dewey’s sense of issues or problem-oriented). Second, sufficient connection is visible over time. Third, affective or emotional activity is apparent in relation to events that lend coherence to the public and its prevailing sentiment. To these, we add critical attention to the affordising processes – or the deliberate and incidental effects of datafication and analysis, in the capacities for data collection and processing in order to produce particular analytical outcomes, and the data literacies these require. We return to the latter after elaborating on the Save the Palace case.Visualising Publics: Highlighting Engagement and IntensityThe Palace theatre was built in 1912 and served as a venue for theatre, cinema, live performance, musical acts and as a nightclub. In 2014 the Heritage Council decided not to include the Palace on Victoria’s heritage register and hence opened the door for developers, but Melbourne City Council and the National Trust of Australia opposed the redevelopment on the grounds of the building’s social significance as a music venue. Similarly, the Save the Palace group saw the proposed redevelopment as affecting the capacity of Melbourne CBD to host medium size live performances, and therefore impacting deeply on the social fabric of the local music scene. The Save the Palace group, chaired by Rebecca Leslie and Michael Raymond, maintained a 36,000+ strong Facebook Page and mobilised local members through regular public street protests, and participated in court proceedings in 2015 and February 2016 with Melbourne City Council and National Trust Australia. Joining the protesters in the lead up to the 2016 appeals trial, we aimed to use social media engagement data to measure, analyse and present evidence of the extent and intensity of a sustained protest public. The evidence we submitted had to satisfy VCAT’s need to establish the social value of the building and the significance of its redevelopment, and to explain: a) how social media works; b) the meaning of the number of Facebook Likes on the Save The Palace Page and the timing of those Likes, highlighting how the reach and Likes pick up at significant events; and c) whether or not a representative sample of Comments are supportive of the group and the Palace Theatre (McCosker “Statement”). As noted in the case (Jinshan, 117), where courts have traditionally relied on one simple measure for contemporary social value – the petition – our aim was to make use of the richer measures available through social media data, to better represent sustained engagement with the issues over time.Visualising a protest public in this way raises two significant problems for a workable concept of data publics. The first involves the “affordising” (Pollock) work of both the platform and our data analysis. This concerns the role played by data access and platform affordances for data capture, along with methodological choices made to best realise or draw out the affordances of the data for our purposes. The second concerns the issue of digital and data literacies in both the social acts that help to constitute a data public in the first place, and the capacity to read and write public data to represent those activities meaningfully. That is, Facebook and our analysis constitutes a data public in certain ways that includes potentially opaque decisions or processes. And citizens (protesters or casual Facebook commenters alike) along with social institutions (like the courts) have certain uneven capacity to effectively produce or read public protest-oriented data. The risk here, which we return to in the final section, lies in the potential for misrepresentation of publics through data, exclusions of access and ownership of data, and the uneven digital literacies at each stage of data production, analysis and sensemaking.Facebook captures data about individuals in intricate detail. Its data capture strategies are geared toward targeting for the purposes of marketing, although only a small subset of the data is publicly available through the Facebook Application Programming Interface (API), which is a kind of data “gateway”. The visible page data tells only part of the story. The total Page Likes in February 2016 was 36,828, representing a sizeable number of followers, mainly located in Melbourne but including 45 countries in total and 38 different languages. We extracted a data set of 268,211 engagements with the Page between February 2013 and August 2015. This included 45,393 post Likes and 9,139 Comments. Our strategy was to demarcate a structurally defined “community” (in the SNA sense of that term as delineating clusters of people, activities and links within a broader network), by visualising the interactions of Facebook users with Posts over time, and then examine elements of intensity of engagement. In other words, we “affordised” the network data using SNA techniques to most clearly convey the social value of the networked public.We used a combination of API access and Facebook’s native Insights data and analytics to extract use-data from that Page between June 2013 and December 2015. Analysis of a two-mode or bipartite network consisting of users and Posts was compiled using vosonSML, a package in the R programming language created at Australian National University (Graham and Ackland) and visualised with Gephi software. In this network, the nodes (or vertices) represent Facebook users and Facebook Posts submitted on the Page, and ties (or edges) between nodes represent whether a user has commented on and/or liked a post. For example, a user U might have liked Post A and commented on Post B. Additionally, a weight value is assigned for the Comments ties, indicating how many times a user commented on a particular post (note that users can only like Posts once). We took these actions as demonstrating sufficient connection over time in relation to an issue of common concern.Figure 1: Network visualisation of activity on the Save the Palace Facebook Page, June 2013 to December 2015. The colour of the nodes denotes which ‘community’ cluster they belong to (computed via the Infomap algorithm) and nodes are sized by out-degree (number of Likes/Comments made by users to Posts). The graph layout is computed via the Force Atlas 2 algorithm.Community detection was performed on the network using the Infomap algorithm (Rosvall and Bergstrom), which is suited to large-scale weighted and directed networks (Henman et al.). This analysis reveals two large and two smaller clusters or groups represented by colour differences (Fig. 1). Broadly, this suggests the presence of several clusters amongst a sustained network engaging with the page over the three years. Beyond this, a range of other colours denoting smaller clusters indicates a diversity of activity and actors co-participating in the network as part of a broader community.The positioning of nodes within the network is not random – the visualisation is generated by the Force Atlas 2 algorithm (Jacomy et al.) that spatially sorts the nodes through processes of attraction and repulsion according to the observed patterns of connectivity. As we would expect, the two-dimensional spatial arrangement of nodes conforms to the community clustering, helping us to visualise the network in the form of a networked public, and build a narrative interpretation of “what is going on” in this online social space.Social value for VCAT was loosely defined as a sense of connection, sentiment and attachment to the venue. While we could illustrate the extent of the active connections of those engaging with the Page, the network map does not in itself reveal much about the sentiment, or the emotional attachment to the Save the Palace cause. This kind of affect can be understood as “the energy that drives, neutralizes, or entraps networked publics” (Papacharissi 7), and its measure presents a particular challenge, but also interest, for understanding a data public. It is often measured through sentiment analysis of content, but we targeted reach and engagement events – particular moments that indicated intense interaction with the Page and associated events.Figure 2: Save the Palace Facebook Page: Organic post reach November—December 2014The affective connection and orientation could be demonstrated through two dimensions of post “reach”: average reach across the lifespan of the Page, and specific “reach-events”. Average reach illustrates the sustained engagement with the Page over time. Average un-paid reach for Posts with links (primarily news and legal updates), was 12,015 or 33% of the total follower base – a figure well above the standard for Community Page reach at that time. Reach-events indicated particular points of intensity and illustrates the Page’s ability to resonate publicly. Figure 2 points to one such event in November 2015, when news circulated that the developers were defying stop-work orders and demolishing parts of The Palace. The 100k reach indicated intense and widespread activity – Likes, Shares, Comments – in a short timeframe. We examined Comment activity in relation to specific reach events to qualify this reach event and illustrate the sense of outrage directed toward the developers, and expressions of solidarity toward those attempting to stop the redevelopment. Affordising Data Publics and the Transformative Work of AnalyticsEach stage of deriving evidence of social value through Page data, from building public visibility and online activity to analysis and presentation at VCAT, was affected by the affordising work of the protesters involved (particularly the Page Admins), civil society groups, platform features and data structures and our choices in analysis and presentation. The notion of affordising is useful here because, as Pollock defines the term, it draws attention to the transformative work of metrics, analytics, platform features and other devices that re-package social activity through modes of datafication and analysis. The Save the Palace group mobilised in a particular way so as to channel their activities, make them visible and archival, to capture the resonant effects of their public protest through a platform that would best make that public visible to itself. The growth of the interest in the Facebook Page feeds back on itself reflexively as more people encounter it and participate. Contrary to critiques of “clicktivism”, these acts combine digital-material events and activities that were to become consequential for the public protest – such as the engagement activities around the November 2015 event described in Figure 2.In addition, presenting the research in court introduced particular hurdles, in finding “the meaningful data” appropriate to the needs of the case, “visualizing social data for social purposes”, and the need to be “evocative as well as accurate” (Donath, 16). The visualisation and presentation of the data needed to afford a valid and meaningful expression of the social significance the Palace. Which layout algorithm to use? What scale do we want to use? Which community detection algorithm and colour scheme for nodes? These choices involve challenges regarding legibility of visualisations of public data (McCosker and Wilken; Kennedy et al.).The transformative actions at play in these tactics of public data analysis can inform other instances of data-driven protest or social participation, but also leave room for misuse. The interests of developers, for example, could equally be served by monitoring protesters’ actions through the same data, or by targeting disagreement or ambiguity in the data. Similarly, moves by Facebook to restrict access to Page data will disproportionately affect those without the means to pay for access. These tactics call for further work in ethical principles of open data, standardisation and data literacies for the courts and those who would benefit from use of their own public data in this way.ConclusionsWe have argued through the case of the Save the Palace protest that in order to make use of public social media data to define a data public, multiple levels of data literacy, access and affordising are required. Rather than assuming that public data simply constitutes a data public, we have emphasised: a) the consequentiality of the movement; b) sufficient connection over time; and c) affective or emotional qualities of connection and interaction with public events. This includes the activities of the core members of the Save the Palace protest group, and the tens of thousands who engaged in some way with the Page. It also involves Facebook’s data affordances as these allow for the extraction of public data, alongside our choices in analysis and visualisation, and the court’s capacity and openness to accept all of this as indicative of the social value (connections, sentiment, attachment) it sought for the case. The Senior Member and Member presiding over the case had little knowledge of Facebook or other social media platforms, did not use them, and hence themselves had limited capacity to recognise the social and cultural nuances of activities that took place through the Facebook Page. This does not exclude the use of the data but made it more difficult to present a picture of the relevance and consequence of the data for understanding the social value evident in the contested building. 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