Artykuły w czasopismach na temat „Family boundary- India”

Purpose Researchers have used different approaches to understand how individuals combine work with family, one being boundary and transition management. However, very few studies have focussed on empirically examining the role of individual boundary management style on work-family experience. The purpose of this paper is to fill this gap by examining the role of integration-segmentation on work-family conflict (WFC) and work-family enrichment (WFE). Two secondary purposes are to explore gender differences in work-family experiences and to examine the relationship between WFC and WFE. Design/methodology/approach The predictor variable in the primary study is integration (with two levels segmented and integrated). Different measures of WFC and WFE are criterion variables. Survey method was used to collect data from 156 life insurance professionals including 64 women employees in India. The average age of the sample is 35 years (SD=6.56). Boundary strategy of integration or segmentation between work and family is determined by measuring similarity in resource priority between work and family. Median split technique is used to delineate the groups. Findings The study has three key findings: employees with integrated boundary strategy report greater levels of both WFC and WFE; no gender differences exist in the experience of WFC and WFE; and WFC and WFE were found to be unrelated to each other. Originality/value The paper empirically studies the role of boundaries on WFC and WFE of insurance employees. It is a response to researchers’ call to integrate boundary theory with spillover theory and examine the role of integration-segmentation.

PurposeThe current study examined cultural (diffuse orientation), organizational (organizational work-family climates) and individual (role centrality) antecedents of key work-family (WF) experiences (WF conflict, WF enrichment and WF boundary management) in India.Design/methodology/approachSurvey data were collected from 586 white-collar employees in India. The data were analyzed using structural equation modeling.FindingsAnalyses revealed interesting culture-specific insights into the WF dynamic. For example, less demarcation between WF boundaries (diffuse orientation) did not increase WF conflict, but significantly fostered WF enrichment, challenging the findings in the Western cultural contexts. A supportive organizational WF climate was found to be a crucial factor that alleviated WF conflict, whereas greater investment in work role led to greater WF enrichment.Research limitations/implicationsThis study addresses a dearth of research on antecedents of WF interface that simultaneously examines the positive and negative aspects of WF interface. It also advances the WF literature by generating empirical evidence related to the cultural dimension of diffuse orientation.Originality/valueThis study provides a holistic view of WF interface in the Indian context by incorporating various antecedents in one model.

The present study deals with the species diversity of fishes in Manimala River with reference to Eraviperoor region, Pathanamthitta, Kerala, India. The Manimala River forms the northern and north-western boundary and Varattar (a branch of river Pamba) forms the southern boundary of the study area. The wetlands (mainly paddy fields) consist of 18 small to medium-sized water bodies functioning as a water source for agriculture. A chain of canals connects many of them in the lower areas while the remaining ones get interconnected during monsoon floods during which the movement of fishes from rivers to other water bodies takes place. These small water bodies are extremely significant for the preservation and sustenance of the biodiversity of fishes. 24 species belonging to 12 families and 5 orders were collected and identified. This includes10 species from the family Cyprinidae, 3 species from the family Channidae, 2 species from family Cichlidae, and 1 species each from families Hemiramphidae, Belonidae, Anabantidae, Osphronemidae, Heteropneustidae, Claridae, Siluridae, Tetraodontidae, and Ambassidae.

SummaryUsing data from India’s first (1992–93) and third (2005–06) National Family Health Surveys (NFHS-I and NFHS-III) this study examined the fertility differentials between major social groups and the extent to which these varied between states and over time. The analysis was based on a sample of 54,030 and 55,369 currently married women aged 15–34 in the NFHS-I and NFHS-III respectively. Reported parity and desired family size were used to assess variations in fertility behaviour. The results show that interstate variation in childbearing patterns within social groups was at least as high as, if not higher than, variation between states (net of other influences) in both periods, 1992–93 and 2005–06. The variations among Hindus, the poor and Muslims were more noticeable than for other groups. These variations did not decline between 1992–93 and 2005–06 and may have even increased slightly for some groups. Further, there was no consistent north–south divide in either fertility behaviour or desired family size. Together, these results may point to the gradual disappearance of the influences that were once unique to southern or northern India, and the simultaneous emergence of social, political, economic and cultural forces that are pan-Indian in their reach.

The genus Fagraea Thunberg (1782: 132), belonging to the family Gentianaceae, is represented by 70 species in the world (Struwe et al. 2002). It is distributed in India, Sri Lanka, Sumatra, Malay Peninsula, Borneo, New Guinea, French Polynesia, China, Philippines and Australia. Clarke (1885) reported 5 species from the present political boundary of India, of which 2 species were recorded by Gamble (1921) from South India. The genus includes glabrous epiphytic trees or shrubs, with simple, opposite and coriaceous leaves, fragrant flowers and pulpy berries with a persistent calyx.

Purpose The purpose of this paper is to explore the role of personality and individual differences as an antecedent to work-family enrichment (WFE) and consequently with job satisfaction. This study address gaps in WFE literature by looking at proactivity, work-family self-efficacy (WFSE) and family permeability as antecedent variables that have received scant attention from researchers. By addressing these gaps, the study seeks to advance theory on WFE and its relation to job satisfaction. Design/methodology/approach The authors do this through the exploration of pathways through WFE and studying 508 married individuals, with at least one child, working in the IT/ITES sector in India. The authors use structural equation modeling to analyze different pathways from personality based antecedents and WFE as mediator. Findings The results demonstrate the mediating role of WFE in the relationship between antecedents (WFSE, family permeability and proactive personality) and job satisfaction. Research limitations/implications This study contributes to existing research on WFE and personality by showing that WFE is a significant pathway toward job satisfaction and how personality variables influence satisfaction. Originality/value It is also the first study to use proactivity and WFSE as antecedents to test out the influence of WFE on job satisfaction. This is also the first study to look at only married individuals with children in a WFE study forced on the services sector. Consequently, these findings have significant implications in the way organizations deal with work-life situations, especially in the 30+ age bracket in India.

In this paper, we focus the unemployability in India and various parts of the country with their earning resources. The main of the paper is to review and analysis the situation at the time of covid-19 and after pandemic specially the stream down impact, inequality and unemployment, joblessness among the young generation, wages and earnings of young generation workers and labor force participation rate (%) by age and location. Then, the comparison of some states with India overall unemployability with special reference Madhya Pradesh is proposed and states the challenges of unemployment situation in India. Keywords: Joblessness, Unwarranted work, Work-family boundary, Disparity, Youth redundancy, Unemployment interventions.

Computer-Supported Cooperative Work (CSCW) and Human--Computer Interaction (HCI) research is increasingly investigating the roles of caregivers as ancillary stakeholders in patient-centered care. Our research extends this body of work to identify caregivers as key decision-makers and boundary actors in mobilizing and managing care. We draw on qualitative data collected via 20 semi-structured interviews to examine caregiving responsibilities in physical and remote care interactions within households in urban India. Our findings demonstrate the crucial intermediating roles family caregivers take on while situated along the boundaries separating healthcare professionals, patients and other household members, and online/offline communities. We propose design recommendations for supporting caregivers in intermediating patient-centered care, such as through training content and expert feedback mechanisms for remote care, collaborative tracking mechanisms integrating patient- and caregiver-generated health data, and caregiving-centered online health communities. We conclude by arguing for recognizing caregivers as critical stakeholders in patient-centered care who might constitute technologically assisted pathways to care.

Tajuria illurgis illurgis (Hewitson, [1869]), is an Indo-Malayan blue butterfly belonging to the family Lycaenidae with distribution across the Himalaya, but there is no photographic evidence of the species from Arunachal Pradesh. On 25 August 2022, a single individual of the species was photographed at an elevation of 1,344 m from Vijaynagar, Arunachal Pradesh, which is the first photographic record of the species from the state. This species is also legally protected under Schedule II of the Indian Wildlife Protection Act 1972. Our record from Vijaynagar suggests that more scientific exploration on lepidopteran community is needed in future, with the area being geopolitically important boundary of Indo-Myanmar.

The genus Surangea Chitaley et Sheikh, based on permineralized specimens from the Deccan Intertrappean Beds of central India, was originally considered to represent a fern megasporangium. Reexamination of original material and new specimens has revealed that the structures are capsular fruits with well-defined seeds, rather than megasporangia. We describe Surangea fruits in detail, based on peels and micro-CT scanning, and document its distribution among multiple localities of the Deccan Intertrappean Beds. The fruits are pentacarpellate septicidal capsules with ~8–12 seeds per locule. The seeds are prominently ornamented with parallel ridges and have a curved embryo/endosperm cavity and a prominent aril. This set of features indicates eudicotyledonous affinities for Surangea. In particular, the combination of septicidal capsules, axile placentation and arillate campylotropus seeds suggests affinity with the order Myrtales, but it does not fit cleanly within an extant family. Surangea fruits add to the diversity of angiosperms known from this late Maastrichtian flora. It joins several other fruit types known from the Deccan flora that do not fall neatly into extant families, possibly representing parts of an endemic community that succumbed to environmental stress associated K-Pg boundary events and/or subsequent northward rafting of the Indian subcontinent.

Rubus Linnaeus (1753: 492) is one of the largest genera in the family Rosaceae, represented by more than 700 species (Lu & Boufford 2003) and numerous apomictic taxa distributed worldwide but mainly in temperate regions (Mabberly 2008). The greatest species diversity of the genus is found in Southeastern Asia, East Asia and South America (Kalkman 1993, Gupta & Dash 2015a). The genus is recognized as one of the unsolved complexes for species delimitation due to hybridization, polyploidy and the large number of apomictic taxa (Weber 1996). The genus is characterized by woody or rarely herbaceous habit with simple to pinnate or compound leaves, terminal solitary to racemose and cymose inflorescence subtended by a foliar bract, pentamerous (rarely more petals) flowers with numerous stamens and pistils; drupaceous fruits with a distinct torus. A current estimate shows that, in India, about 75 species occur (Gupta & Dash 2015b) with the largest concentration in eastern Himalayan states. Hooker (1878) reported 41 species of Rubus from the then British India out of which 39 species and 15 varieties are found within the present political boundary of India. Long (1987) reported 35 species and 1 variety from Sikkim while dealing with Flora of Bhutan. Very limited information is available on the genus in India except some sketchy enumerations in the state floras (Kanjilal et al. 1922, Sharma & Kachroo 1981, Chowdhery & Wadhwa 1984, Chowdhery et al. 1996). Therefore, taxonomic treatment of less known Indian species of Rubus has not been worked out; as a result these names are only being referred as unresolved names in contemporary databases (e.g. The Plant List 2013).The majority were collected during the colonial era but without any designation of types. Therefore, to maintain the current taxonomic status, detailed studies are needed for all these species. We (first two authors) currently are revising the taxonomy of Rubus in India and this is part of the PhD thesis of the first author. During our research, we traced specimens of Rubus collected from western Himalaya (India) referable to less known and untypified R. chambicus Rolfe (1920: 132) and R. almorensis Dunn (1921: 310).

Intercaste marriage has been a perpetual problem faced by many, especially those who are coming from the hindus areas like India, where caste system has been part of the society. Hence, the term caste used here may not be familiar for the Toraja people, as in Toraja it is known as Tana’, a term that literally means stick or peg, actually used to mark a boundary in the rice field or of a land. However, it is also used metaphorically, that is to divide layers in society according to the appropriate level.[1] According to the Encyclopedia of Anthropology, the term caste comes from the Portugese casta (bread, lineage), and was coined by Portugese travellers to India in reference to the social, economic and religious systems they witnessed.[2] Meanwhile, according to Oxford Dictionary, the term refers to any of the Hindu social classes, a social system based on differences in family origin, rank, wealth, etc., Therefore, I insist to use it here for its parity when used in Toraja context (with its differences in society).

ABSTRACT Although empirical testing of Cope's rule, the tendency for size to increase over time, has received significant attention in the last few decades, there is no consensus about the applicability of this rule across taxonomic levels. In the present study, we investigate the distribution of body size of Trigoniida bivalves, at order-, family-, genus- and species-level, through the Middle Jurassic and Early Cretaceous of the Kutch region in India. Our data suggest that the body size of Trigoniida bivalves did not vary significantly in the Middle–Late Jurassic, followed by an increase after the Jurassic–Cretaceous mass extinction boundary and a reduction in the late Early Cretaceous. Changes in relative sea-level and associated sedimentary facies composition generally exhibit poor correlation with the overall stasis, or no net body size change, displayed by Trigoniida bivalves. Body-size analysis across taxonomic hierarchy reveals that order-level trends are not a simple aggregation of trends at lower taxon levels. An important observation of our study is the body-size increase immediately in the aftermath of the Jurassic– Cretaceous mass extinction, a deviation from the general observation that size reduction occurs in post-extinction communities. We argue that this increase may be result of both ecological competition and evolutionary faunal turnover.

Drawing on biographical narratives of two gay men in mixed-orientation marriage who have later gone on to establish re-partnership with another gay man, this paper seeks to critique the inherent heteronormativity in the discussion around re-partnership. It examines the consequential kinship dynamics among concerned social actors such as gay men, straight women, and their biological children, and their ongoing negotiations with the social institutions of marriage and family. Further, the discussion around re-partnership between two gay men in a Western context does not necessarily consider the alternative negotiations that characterize South Asian queer experiences. Borrowing from De Villiers’ concept of queer opacity (2012) and Jingshu Zhu’s (2017) ambivalence, the paper demonstrates that the kinning process of gay men in mixed-orientation marriage forging partnership with other gay men exists in a continuum. The boundary between what needs to be undone and what needs to be redone is porous, ambiguous, and interpenetrative. In that case, this paper suggests a non-Western framework to understand re-partnership in non-normative conjugality.

ABSTRACT Background and approach – The Deccan Intertrappean Beds of Central India contain a diverse assemblage of fossil plants, including petrified woods from 15 localities. These beds are dated at c. 67–64 Ma, i.e. latest Cretaceous–earliest Paleocene and span the K-Pg boundary, a significant time in angiosperm history. At this time, the Indian tectonic plate was halfway on its journey from Gondwana to its collision with Asia, and relatively close to the equator. We provide descriptions in IAWA Hardwood List codes for 47 species of Deccan fossil woods, based on our examination of thin sections of these woods, mostly holotypes that are housed at the Birbal Sahni Institute of Palaeobotany, Lucknow, India. An appendix lists all validly published Deccan wood species of which we are aware, including 52 that we were not able to examine. Main results – The Deccan fossil woods described herein include the oldest known occurrences of some orders, families or genera viz. Lamiales (Lamia-ceae), Achariaceae (Hydnocarpus-like wood), Anacardiaceae, Simaroubaceae (Ailanthus-like and Simarouba-like woods), subfamily Leeoideae (Vitaceae), subfamily Myrtoideae (Myrtaceae), subfamily Planchoideae (Lecythidaceae), tribe Castilleae (Moraceae), tribes Grewioideae and Sterculioideae (Malvaceae). These first fossil records are discussed with reference to other macrofossil and pollen records of the same or related clades. They complement recent work on the oldest known Olea and Connaraceae also documented by Deccan woods.For the Deccan woods we examined, we could confirm the earlier taxonomic assignment at least down to order or family level for 29 taxa. Ordinal level affinities are ambiguous for eight of the taxa. In two cases, we revised the taxonomic assignment to other families; for another eight, the original assignment was found to be incorrect, but we are unable to suggest alternative affinities. Evolutionary implications – Only 3% of all Deccan woods have scalariform perforations and the incidences of so-called specialized features in the Baileyan sense are high, so these woods have a remarkably “modern” aspect. This is anomalous in comparison with contemporaneous fossil woods from higher paleolatitudes, and seemingly they are more “derived” than the recent flora. In these respects, the Deccan woods constitute a unique assemblage. The low incidence of scalariform perforations suggests xeric conditions, while – in contrast – the low incidence of distinct growth ring boundaries suggests an aseasonal everwet climate. It is speculated that convergent xylem specialization, especially the selection for simple perforations, was enhanced by the climatic conditions found at low paleolatitudes with high temperatures as would characterize the Deccan Intertrappean Beds at the K-Pg boundary.

Violence against women is one of the main social problems worldwide. Marital rape and its recognition are discussed as a new boundary mark because of greater social sensitivity on violence. From an intercultural social work perspective, it is highly relevant to learn more about perceptions of different kinds of violence in order to plan adequate interventions. The article presents findings from expert interviews related to the perception and the intervention structure contextualised by the discourse on marital rape in India. It concludes six main implications for intercultural social work. The main finding (6) states that in all of these settings, the role of the family system should not be underestimated, and whenever possible couple counselling should be considered. Viewed against the background of the highly individualised Swiss society, this is a finding, which needs to be taken into careful account in Swiss intercultural social work.

In addition to being the better half of man woman is an integral part of society but for whom man cannot bring any change in the society. History stands a great testimonial to this. The freedom movement of the nation would not have been possible without the participation of the women. Many women of Odisha forwent their domestic work, crossed their conservative boundary of family and joined the freedom movement of India. In this context, the women of Sambalpur had not lagged behind. One such luminary of the soil is Prabhavati Devi who had shown her valour and valiant role in the freedom struggle of the land. She went to Bari Ashram with the noble mission of imbibing all the virtues from the inspiring company of Malati Devi and Rama Devi. Thereafter, she took active part in various national movements such as Satyagraha, Non cooperation, Salt Movement, Individual Satyagraha, Quit India movement and Bhoodan Movement and went to jail. She carried out many social activities by establishing Matruniketan and Balniketan to serve depressed and deprived people. Because of her unique contribution both in political and social field, she has been accorded many awards both from government and non- government organizations.

COVID-19 crisis has changed the way we work. Work-fromhome, which was a possibility in some sectors, has become a compulsion for all, which has affected the work-life balance of working professionals. Depending on where the employees are working, the office hours have noticeably increased by one to five hours longer as this supplementary time is spent in conferences and follow-ups, or an endeavor to improve productivity, or just being unaware of the time as there is no clear boundary that exists between work and life now. During this unprecedented time, the augmented center of attention should be towards the welfare of the employees and the acknowledgment, recognition, and acceptance of the fact that work and personal/ family needs will overlap. This paper intends to investigate the various factors impacting work-life balance during the lockdown imposed by the government in light of the coronavirus, which is spreading at a rapid pace. Key insights were obtained by conducting a factor analysis and extracting four main factors, which have been explained further below. Data was collected from 225 employees across India belonging to various sectors. The findings of this study can be a crucial contributor to organizations by taking inputs. Then this prescience will help organizations to be prepared during unforeseen events by further refining their policies to benefit their employees.

Abstract. The Agulhas Current, the western boundary current of the South Indian Ocean, has been shown to play an important role in the connectivity between the Indian and Atlantic oceans. The greater Agulhas Current system is highly dominated by mesoscale dynamics. To investigate their influence on the regional and global circulations, a family of high-resolution ocean general circulation model configurations based on the NEMO code has been developed. Horizontal resolution refinement is achieved by embedding “nests” covering the South Atlantic and the western Indian oceans at 1/10∘ (INALT10) and 1/20∘ (INALT20) within global hosts with coarser resolutions. Nests and hosts are connected through two-way interaction, allowing the nests not only to receive boundary conditions from their respective host but also to feed back the impact of regional dynamics onto the global ocean. A double-nested configuration at 1/60∘ resolution (INALT60) has been developed to gain insights into submesoscale processes within the Agulhas Current system. Large-scale measures such as the Drake Passage transport and the strength of the Atlantic meridional overturning circulation are rather robust among the different configurations, indicating the important role of the hosts in providing a consistent embedment of the regionally refined grids into the global circulation. The dynamics of the Agulhas Current system strongly depend on the representation of mesoscale processes. Both the southward-flowing Agulhas Current and the northward-flowing Agulhas Undercurrent increase in strength with increasing resolution towards more realistic values, which suggests the importance of improving mesoscale dynamics as well as bathymetric slopes along this narrow western boundary current regime. The exploration of numerical choices such as lateral boundary conditions and details of the implementation of surface wind stress forcing demonstrates the range of solutions within any given configuration.

Thirty species of marine mammals have been recorded from Sri Lanka. Amongst them the Indo-Pacific Finless Porpoise Neophocaena phocaenoides is the only representative of the family Phocoenidae. The only previous record from Sri Lanka was a specimen caught on the Wadge Bank by a Smithsonian Carangid Survey team in 1970. Wadge Bank is west of the island and is, in fact, in Indian territorial waters. Here we present the first legitimate records of the Finless Porpoise from Sri Lanka, based on one stranding and three live sightings. Furthermore, the occurrence of threatened species such as the Indo-Pacific Finless Porpoise in the waters of the Palk Bay and the Gulf of Mannar indicates that a cross boundary research initiative between Indian and Sri Lankan scientists, simultaneously focusing on the conservation of the species, is essential. We believe, through such an initiative, a more holistic approach could be adopted when studying and conserving the species, which could then be expanded to encapsulate many other marine species and ecosystems.

Marriage is a wedded relationship between members of opposite sexes, except otherwise sanctioned by law of the land, to unite together for a durable relationship of responsibility and need gratification. It is an institutional arrangement, compliance of which is mandatory to obtain social approval. Traditionally marriage amounted to a union of families characterized by larger involvement of family and kin and reciprocal relationships built between each other and consequent enlargement of the family circle, rather than that of two individuals. In the caste-ridden traditional Indian society, caste and communities functioned as a boundary wall limiting the expansion of choices. Contrary to this are the sparingly few still relevant self-selection marriages or love marriages which are hailed for cutting across diversities and developing deeper mutual understanding that is at the core of relationships, an alarming number of them end up in failure very soon. Modern marriages are business deals involving investments and matching of mutual gains. The modus operandi stands out hosting in lavish hotels and halls with huge spending on food, clothes, ornaments, and arrangements. The matching process itself is complex involving a host of factors such as age, education, appearance and beauty, wealth, profession, family status, the value of dowry, and astrological compatibility. This paper seeks to bring out the transition from home-based to hall-based marriage practices and accompanying changes marking the shift from traditional to modern marriages. It also tries to expose the role of compatibility matching as an intricate process involving innumerable factors in which age assumes the role of a major bargaining factor. Qualitative analysis involving experiential surveys and focus group discussions with key informants was adopted for the collection of data.

Erdrich’s works present native people’s loss and struggle in confronting the intersection of white culture and native culture. The paper aims to explore native people’s identity search and finds that Lipsha achieves his success with the help of his connection to his family and his native culture. His success implies the author's suggestions on self-positioning and mental health for the native people under the mixed culture. Through the creation of this image, the author also provides strategies for the revival of native culture. In the process of contact with mainstream culture, all aspects of Indian life are influenced by cultural hybridity. In this mixed background, the boundary between the mainstream and the edge has been crossed, and natives cannot rely on simple confrontation or blind obedience to achieve development. Blindness will only lead to loss, while simple confrontation will not bring about revival and prosperity. Only by conforming to the tide of cultural integration, preserving, and inheriting the native cultural characteristics, and being good at absorbing the positive elements conducive to the development of their own culture from other cultures can natives find their own position in multiculturalism and make their own beautiful voices.

Drifting fish eggs and larvae (ichthyoplankton) can be identified to species using DNA metabarcoding, thus allowing for post hoc community analyses at a high taxonomic resolution. We undertook a regional-scale study of ichthyoplankton distribution along the east coast of South Africa, focused on the contrasting environments of the tropical Delagoa and subtropical Natal Ecoregions, and on exposed and sheltered shelf areas. Zooplankton samples were collected with tow nets at discrete stations along cross-shelf transects (20–200 m depth) spaced along a latitudinal gradient that incorporates a known biogeographical boundary. Metabarcoding detected 67 fish species, of which 64 matched prior distribution records of fishes from South Africa, with the remaining three known from the Western Indian Ocean. Coastal, neritic and oceanic species were present, from epi- and mesopelagic to benthopelagic and benthic adult habitats. By family, Myctophidae (10 species), Carangidae, Clupeidae, Labridae (each with 4 species) and Haemulidae (3 species) were most speciose. Ichthyoplankton community composition varied significantly with latitude, distance to coast, and distance to the shelf edge. Small pelagic fishes had the highest frequency of occurrence: Engraulis capensis, Emmelichthys nitidus and Benthosema pterotum increased in frequency towards the north, whereas Etrumeus whiteheadi increased towards the south. Chub mackerel Scomber japonicus accounted for most variability related to distance from the coast, whilst African scad Trachurus delagoa correlated with distance to the shelf edge. Dissimilarity between communities in the Delagoa and Natal Ecoregions was 98–100%, whereas neighbouring transects located within the sheltered KwaZulu-Natal Bight had lower dissimilarity (56–86%). Onshore transport of ichthyoplankton by Agulhas Current intrusions plausibly explained the abundance of mesopelagic species over the shelf. Metabarcoding followed by community analysis revealed a latitudinal gradient in the ichthyoplankton, associations with coastal and shelf-edge processes, and evidence of a spawning area in the sheltered KwaZulu-Natal Bight.

An experiment was conducted at research farm of ICAR-Indian Institute of Farming Systems Research, Modipuram, Uttar Pradesh during 2016–17 to 2018–19 to develop integrated farming systems (IFS) model which has diverse commodities/components, viz. crops (1.04 ha), dairy (2 Murrah buffaloes and 1 Gir cow), horticulture (0.22 ha), fishery (0.1 ha), mushroom (0.02 ha), poultry (10 birds), vermicompost unit (0.02 ha), kitchen garden (0.002 ha) and boundary plantation with fruit trees (200 m in running length). The total productivity of all cropping sequences surged up to 124.96 tonnes/1.04 ha/year when yields of the whole system were transformed into sugarcane equivalent yield (SEY). Gross and net returns from crop components of IFS model were obtained in the extent of `282×103/1.04 ha/ year and `199×103/1.04 ha/year and B:C ratio 3.37. The overall farm product of all components in the form of SEY was 246.95 tonnes/1.5 ha/year and 164.63 tonnes/ha/year. Similarly, gross return from involving all components of IFS model was erected at `777×103/1.5 ha/year and `518×103/ha/year and net return `491×103/1.5 ha/year and `328 × 103/ha/year with B:C ratio of 3.37 for the entire IFS model. Given total availability of farm-based waste (19950 kg/ year) was recycled within the system in the form of compost, vermicompost (VC), crops residues, litter falls, weeds and green manure (GM). As regards to livelihood security, the IFS approach had adapted to meet the homegrown family needs of cereals, pulses, oils, fruits, milk, meat, eggs and vegetables.

This study was carried out in the southern zone of Tigray to identify and characterize traditional common agroforestry practices and understand the existing knowledge of farm households on the management of trees under different agroforestry in different agroecologies. We conducted reconnaissance and diagnostic surveys by systematically and randomly selecting 147 farming households in the three agroecologies of the study area. A logit regression model was employed to determine how these factors influence farmers’ adoption decision. The findings indicate that a majority of the households (46.3%) were engaged in homestead agroforestry practices (AFP), followed by live fence (25.9%) and farmland or parkland (15%) agroforestry practices. The study identified Carica papaya, Malus domestic, Persea americana, Mangifera indica, Ziziphus spina-christi, and Balanites aegyptiaca as the most dominant fruit tree species found in the home garden agroforestry. In total, 68% of the households had some of these fruit trees around their home gardens. We also established the three most dominant agricultural production systems as: i) Agricultural production system, composed of fruit tree + cereal crops + Ziziphus spina-christi + Balanites aegyptiaca and/or acacia species; ii) agricultural production system, consisting of cash crops, like Coffee arabica and Catha edulies + fruit trees + Cordia africana + Balanites aegyptiaca and/or acacia species; and iii) agricultural production, composed of fruit trees + vegetables within a boundary of Sesbania sesban and other acacia species in the modern irrigated land. Furthermore, 90.16% of the households in the highlands reported a shortage of farmland for planting trees as the main constraint. About 34.44% farmers reported using leaves of Cordia africana, Balanites aegyptiaca, pods of acacia species, and crop residue as the main source of animal fodder. In total, 86.4% of the households also recognized the importance of multipurpose trees for soil fertility enhancement, control of runoff, microclimate amelioration, environmental protection, and dry season animal fodder. According to the logit model analysis, sex, family size, educational level, and landholding significantly (p < 0.05) influence the household’s role in the adoption of agroforestry practices. Based on these findings, farmers used different adaptation strategies, such as planting of multi-purpose trees (34.7%), conservation tillage to minimize both erosion and runoff potentials as soil conservation strategies (27.2%), varying planting dates, use of drought tolerant crop varieties (16.3%), and others based on farmers’ indigenous knowledge passed down from generation to generation. We conclude that agroforestry practices are important components of farming systems in Tigray, resulting in diversified products and ecological benefits that improve socio-ecological resilience. Therefore, we recommend that agroforestry practices are mainstreamed into development plans, especially in agriculture.

Purpose The recent COVID-19 pandemic has (triggered) lots of interest in work from home (WFH) practices. Many organizations in India are changing their work practices and adopting new models of getting the work done. The purpose of the study to look at the boundary-fit perspective (Ammons (2013) and two factors, namely, individual preferences (boundary control, family identity, work identity and technology stress) and environmental factors (job control, supervisor support and organizational policies). These dimensions are used and considered to create various clusters for employees working from home. Design/methodology/approach K-mean clustering was used to do the cluster analysis. Statistical package for social sciences 23 was used to explore different clusters based on a pattern of characteristics unique to that cluster, but each cluster differed from other clusters. Further analysis of variance test was conducted to see how these clusters differ across three chosen outcomes, namely, work-family conflict, boundary management tactics used and positive family-to-work spillover effect. The post hoc test also provided insights on how each cluster differs from others on these outcomes. Findings The results indicated four distinct clusters named boundary-fit family guardians, work warriors, boundary-fit fusion lovers and dividers consistent (with previous) research. These clusters also differ across at least two major outcomes like boundary management tactics and positive spillover. The high control cluster profiles like Cluster 3 (boundary-fit fusion lovers) and Cluster 4 (dividers) showed low technostress and higher use of boundary management tactics. Cluster 3 (boundary-fit fusion lovers) and Cluster 1 (boundary-fit family guardians) having high environmental influencers also showed higher positive family-to-work spillover. Research limitations/implications Because this study is very specific to the Indian context, a broad generalization requires further exploration in other cultural contexts. The absence of this exploration is one of the limitations of this study. On the culture continuum, countries may vary from being individualistic on one extreme to being collectivistic on the other extreme. Interaction of these two cultural extremities with the individual and the environmental dimension, as espoused in this research, can be examined further in a different cultural setting. Originality/value This study has extended the work of Ammons (2013) and added external influencers as a dimension to the individual preferences given by (Kossek 2016), and created the cluster for employees in the Indian context. This study has demonstrated the importance of reduced technostress, and the use of boundary management tactics (temporal and behavioral) leads to positive family-to-work spillover. It has also emphasized the relevance of organization policies and supervisor support for better outcomes in WFH.

PurposeThis paper aims to explore the association between chairperson hubris and the internationalization of firms belonging to business groups in an emerging market, India, under the boundary conditions of business group internationalization and the tenure of independent board members. Design/methodology/approachArchival data of 163 Indian family firms over a five-year period were used. FindingsThe study highlights the significance of chairperson hubris in determining the internationalization of family firms in India and the influence that business group internationalization and the tenure of independent board members have on the chairperson hubris and firm internationalization relationships. Originality/valueAlthough literature exists on drivers of internationalization, micro-foundations theories such as chairperson hubris have been less explored in the international business literature, especially in the context of emerging markets. Contribution to Impact

The present paper critically examined the available research on role of family and school contribution in academic achievement and explored their social representations. People adaptation with the prevalent notions and thinking beyond the boundary of common sense is required to explain multidimensional picture of any attribute. Previous research applied social representation theory to understand educability, intelligence, academic achievement and failure, and teachership. This article showed a polysemic understanding of family and school contribution where roles and identity matters.

The COVID-19 pandemic hit mankind at an unprecedented scale. In their attempt to continue functioning, organizations asked employees to work from home. Though employees experienced stress due to ‘forced’ work from home and blurring of work–family boundaries, they had to cope with the challenging times. The present study aimed to unearth the aspects of boundary management and adaptation in the context of work from home during the COVID-19 pandemic. Thus, we address the research question ‘how did the employees adapt to the sudden forced work from home during the COVID-19 pandemic?’ Since work from home was forced upon employees during the pandemic leading to the violation of boundaries, we invoked the boundary theory that highlights the boundaries that people draw between their personal and professional lives to maintain a balance. Further, we referred to the theory of cognitive adaptation to explain how employees adapted to the challenges while working from home during COVID-19. We conducted in-depth interviews of 30 experienced professionals working in the technology-enabled sectors in India. We applied Gioia’s methodology to analyse the qualitative data. Four aggregate dimensions emerged from the data analysis, as employees involuntarily worked from home: stress due to work disruptions, threats to employee well-being, boundary violation and employee resilience. Our findings contribute to the current theoretical understanding of employee stress, boundary management, adaptation or resilience and employee well-being, in the context of forced work from home. While employees were stressed and boundaries had blurred between work and family, they adapted and demonstrated resilience to the unprecedented changes in their lives. Practical implications of our study include managers’ conscious efforts towards respecting work–family boundaries, enhancing employee well-being and building a resilience-promoting work environment.

PurposeWith little empirical attention devoted to the consequences of loneliness in the workplace, the present study investigated the effect of workplace loneliness on creative performance, organizational citizenship behaviors and work-family family conflict. Furthermore, psychological capital was examined as a moderator of these relationships.Design/methodology/approachThe proposed model was tested in two different studies on a sample of employees from manufacturing (Sample 1: n = 379) and service (Sample 2: n = 559) organizations in India. Data were collected using self-administered questionnaires at two different points in time. Confirmatory factor analysis and multiple hierarchical regressions were used to test the hypothesized model.FindingsWhile workplace loneliness was found to negatively affect creative performance and organizational citizenship behavior, its impact on work-family conflict was positive. Results revealed a significant moderating effect of psychological capital on these relationships. Psychological capital buffered the impact of loneliness in a way that the detrimental effect of loneliness on performance behaviors was less severe for the individuals with high psychological capital.Originality/valueThe study makes an original and noteworthy contribution to the loneliness and negative emotions literature by advancing the understanding around the consequences and boundary conditions of loneliness in the workplace. It carries important implications for managing loneliness in the organizations by identifying psychological capital as an important personal resource for mitigating the effects of workplace loneliness on creativity and extra-role behaviors.

Purpose This study aims to explore how family incivility is linked to workplace bullying among employees. This study examines the role of psychological safety as an explanatory mechanism linking both. This paper also looks into the moderating roles of optimism between family incivility and psychological safety and organization-based self-esteem (OBSE) between psychological safety and workplace bullying. Design/methodology/approach Drawing from the conservation of resources theory and work home resources model, this study developed various hypotheses. The proposed relationships were tested using responses gathered from 260 teaching faculty across the universities in India. This study used Warp-PLS for data analysis. Findings The findings suggest that psychological safety mediated the relationship between experienced family incivility and workplace bullying. This study also found support for the mediating role of psychological safety. Further, this study has proved that trait optimism and OBSE are boundary conditions influencing the outcomes of family incivility. Practical implications The findings have practical implications for teachers, educational institution leaders and policymakers. This study augments the importance of cultivating optimism and OBSE to combat conflicting situations. Employees who practice optimism on a daily basis are high in psychological safety and when supported with OBSE by the institution, the impact of family incivility and its adverse effects in the workplace is reduced, curbing the instances of workplace bullying. Originality/value To the best of the authors’ knowledge, this is one of the first studies to establish the role of “organizational resource,” OBSE, as a coping mechanism in tackling the adverse effects of family incivility. From a resource perspective, this study is one of the first to look into the enablers and inhibitors of resource creation in an individual while experiencing family incivility.

Abstract This is an ethnography among poor migrants from Kerala, India to the Middle East. This study offers insights into how the poor accumulate sacrificial money through sufferings and self-abnegation, and earmark it for consumption in Kerala. The hardships endured to earn the sacrificial money transform it into a sacred object. The phenomena of accumulation, earmarking, and meaning making of sacrificial money by the poor can be understood through the concept of sacrificial work. Sacrificial work is a spatially demarcated circuit of accumulation of money through hardships and its conflict-ridden transfer to family, community, and self for consumption. In sacrificial work, the poor erect a boundary around this money, and earmark it as caring, communal, and transformative. By delineating the various aspects of sacrificial work, this study brings to the center a behavior that has, in spite of its ubiquity, been relegated to the margins of consumer research.

PurposeThe detrimental influence of perceived work–family conflict (WFC) on employees' job-related attitudes has been examined in individualistic cultures. However, this relationship needs to be studied in collectivist societies, where the “family” is a salient social institution with family-centric work ethics. This study empirically investigates the role of nurturant task leadership (NTL) behavior in attenuating (1) the negative direct effect of perceived WFC on job satisfaction and (2) the negative indirect effect of perceived WFC on job satisfaction, mediated through affective commitment (AC) on a sample of employees from a public sector bank in India.Design/methodology/approachThe study adopts a cross-sectional research design, and the data were collected from 244 executives working in the banking sector of India. The direct, indirect and moderated effects were analyzed using ordinary least squares (OLS) regression.FindingsNTL behavior was found to moderate the negative direct relationships between perceived WFC and job satisfaction as well as the negative indirect relationship between perceived WFC and job satisfaction, mediated through AC.Research limitations/implicationsThe study contributes to existing literature on WFC by introducing an important boundary condition in NTL behavior, thus providing impetus to further research in this direction through research designs that allow for causal inference and generalizability.Practical implicationsFindings from this study can provide useful pointers to organizations dealing with employee performance challenges owing to WFC. Results indicate that leaders who exhibit NTL behavior are more likely to attenuate the negative influence of WFC on employee attitudes and performance.Originality/valueThis study is among the first empirical examination of the effectiveness of NTL behavior in mitigating the negative effects of perceived WFC on job satisfaction.

Background: Curiosity and need are the major forces driving invention and discoveries. The covid-19 said to originated from Wuhan of Hubei province in china have raised so many questions and doubts about origin and spread of disease and the controversy is still going on. The geographical location of Wuhan in relation to sea is of significant value in relation to covid-19 pandemic as observed in this research. The city of Wuhan is located on both banks of the Changjiang (the Great River, a.k.a the Yangtze River) about six hundred miles upstream from Shanghai and the Pacific Ocean. It is about four hundred miles upstream from Nanjing. Its location is supremely strategic, being where the Hanshui (Han River) joins the Changjiang. The Wuhan Huanan Seafood Wholesale Market was in news and highlighted by several media and news agency as probable source of origin of covid-19. The Huanan Seafood Market located in Wuhan was a live animal and seafood market in Jianghan District, Wuhan City, and the capital of Hubei Province in Central China. My research aimed to assess the impact of geographical locations particularly coastal influence on the total/average/maximum/minimum confirmed cases and deaths from COVID-19/SARS-CoV-2 pandemic in 36 states and union territories of India, during COVID-19 pandemic from the beginning of pandemic cases in January 2020 in India with special focus on coastal states and union territories of India. The coast is also known popularly as the coastline or seashore is the area where land meets the sea or ocean, or as a line that forms the boundary between the land and the ocean. The term coastal state and union territories is used to refer to a state where interactions of sea and land of states occur. The study also aims to find safest geographical location in covid-19 pandemic. Methods: The information on the number of cases and deaths due to COVID-19 pandemic in 36 states and union territories of India was obtained from Health Department, Ministry of Health and Family Welfare (MoHFW), Government of India, and data were matched and analyzed from online websites as well. The impact of geographical locations on the total/average/maximum/ minimum confirmed cases and deaths from COVID-19/SARS-CoV-2 pandemic in 36 states and union territories of India was analyzed with Microsoft office and stata 15.1 for windows (64bit) will be used with Microsoft office in next version-2 of article for epidemiological comparison by calculating incidence, prevalence, mortality rate and other indicators. The study for global correlation of this research is also under process by the author. For the purpose of research India is divided into four geographical areas, 1 Coastal states and union territories (total ten in numbers), 2 Island groups (three in numbers), 3 north eastern states and east area i.e. Laddakh 4 other states and union territories having plain areas (14 in numbers). Results: The findings showed that total numbers of death from covid-19 is highest in coastal states and union territories with a count of 240628 since beginning of the pandemic whereas the islands group reported the lowest total numbers of death from covid-19. The average death from covid-19 is highest in coastal states and union territories group with a count of 24062.8 followed by other states and union territories group with a count of 9754.07. The islands group reported the lowest average numbers of death from covid-19 with a count of 58.67. A similar trend was found for numbers of confirmed cases with coastal states on top having largest number of covid-19 cases. Conclusions: The research observation found that coastal states and union territories of India have larger number of daily cases of COVID-19 and mortality as compared to other geographical locations of the country. The observation also found that islands have least number of cases and deaths due to covid-19 pandemic. This study also gives rise to hypothesis that coastal locations are at greater risk of covid-19 infection and mortality whereas islands are safe places in covid-19 pandemics.

Three Gram-staining-negative, aerobic and rod-shaped strains, designated as T40-1T, T40-3T and JL-62T, were isolated from the deep-sea water in the southwest Indian ridge. For strain T40-1T, growth occurred at 15–37 °C (optimum, 28 °C), pH 6.0–9.0 (optimum, pH 7.5) and in the presence of 0.5–5.0 % NaCl (w/v; optimum, 2.0 %). Strain T40-3T could grow at 15–40 °C (optimum, 28 °C), with 0.5–11.0 % NaCl (optimum, 2.0 %, w/v) at pH 6.0–9.5 (optimum, 8.0). The temperature, pH and salinity ranges for growth of strain JL-62T were 15–40 °C (optimum, 30 °C), pH 5.5–9.0 (optimum, pH 7.5–8.0) and 0.5–9.0 % NaCl (w/v; optimum, 4.0 %). Ubiquinone-10 was the sole ubiquinone in all strains, the major fatty acids (>20 %) were summed feature 8 (C18 : 1 ω7c / C18 : 1 ω6c). The major polar lipids of strains T40-1T and T40-3T were phosphatidylcholine, phosphatidylglycerol, phosphatidylethanolamine and diphosphatidylglycerol. Strain JL-62T contained phosphatidylmonomethylethanolamine, diphosphatidylglycerol, phosphatidylethanolamine, phosphatidylglycerol and sulfoquinovosyldiacylglycerol as major polar lipids. Phylogenetic trees based on 16S rRNA gene and core-genomic sequences revealed affiliation of strains T40-1Tand T40-3T to the family Roseobacteraceae and formed two independent clades from other Roseobacteraceae genera, and those two strains had average nucleotide identities of 62.0–72.0 % to their phylogenetically related species which fell into to the genus boundary range, indicating that they represent two novel genera. While strain JL-62T represents a novel species in the genus Oricola belonging to the family Phyllobacteriaceae , which was supported by overall genomic relatedness index calculations. The DNA G+C contents of strains T40-1T, T40-3T and JL-62T were 66.5, 60.1 and 62.1 mol %, respectively. Based on the polyphasic taxonomic data, strains T40-1T (=MCCC M24557T=KCTC 82975T) and T40-3T (=MCCC 1K05135T=KCTC 82976T) are classified as representing two novel genera belonging to the family Roseobacteraceae with the names Mesobacterium pallidum gen. nov., sp. nov. and Heliomarina baculiformis gen. nov., sp. nov. are proposed, and strain JL-62T (=MCCC M24579T=KCTC 82974T) is proposed to represent a novel species within the genus Oricola with the name Oricola indica sp. nov. is proposed.

In 2014, telecommunications companies Ooredoo and Telenor introduced a 3G phone network to Myanmar, one of the last, great un-phoned territories of the world (“Mobile Mania”). Formerly accessible only to military and cultural elites, the smartphone was now available to virtually all. In 2020, just six years later, smartphones are commonplace, used by every class and walk of life. The introduction and mainstreaming of the smartphone in Myanmar coincided with the transition from military dictatorship to quasi democracy; from heavy censorship to relative liberalisation of culture and the media. This ongoing transition continues to be a painful one for many in Myanmar. The 3G network and smartphone ownership enable ordinary people to connect with one another and the Internet—or, more specifically, Facebook, which is ‘the Internet in Myanmar’ (Nyi Nyi Kyaw, “Facebooking in Myanmar” 1). However, the smartphone and what it enables has also been identified as a new instrument of control, with mass-texting campaigns and a toxic social media culture implicated in recent concerted violence against ethnic and minority religious groups such as the Muslim Rohingya. In this article, I consider the political and cultural conversations enabled by the smartphone in the period following its introduction. The smartphone can be read as an anomalous, hybrid, and foreign object, with connotations of fluidity and connection, all dangerous qualities in Myanmar, a conservative, former pariah state. Drawing from Sarah Ahmed’s article, “The Skin of Community: Affect and Boundary Formation” (2005), as well as recent scholarship on mixed race identification, I examine deeply held fears around ethnic belonging, cultural adeptness, and hybridity, arguing that these anxieties can be traced back to the early days of colonisation. During military rule, Myanmar’s people were underserved by their telecommunications network. Domestic landlines were rare. Phone calls were generally made from market stalls. SIM cards cost up to US$3000, out of reach of most. The lack of robust services was reflected by remarkably low connection rates; 2012 mobile connections numbered at a mere 5.4 million while fixed lines were just 0.6 million for a population of over 50 million people (Kyaw Myint, “Myanmar Country Report” 232). In 2013, the Norwegian telecommunications company Telenor and the Qatari company Ooredoo won licenses to establish network infrastructure for Myanmar. In August 2014, with network construction still underway, the two companies released SIM cards costing a mere 1500 kyats or US$1.50 each. At the time, 1500 kyats bought two plates of fried rice at a Yangon street food stall, making these SIM cards easily affordable. Chinese-manufactured handsets quickly became available (Fink 44). Suddenly, Myanmar was connected. By early 2019, there were 105 smart connections per 100 people in the country (Kyaw Myint, “Facebooking in Myanmar” 1). While this number doesn’t count multiple connections within a single household or the realities of unreliable network coverage in rural areas, the story of the smartphone in Myanmar would seem to be about democratisation and a new form of national unity. But after half a century of military rule, what did national unity mean? Myanmar’s full name is The Republic of the Union of Myanmar. Since independence in 1948 the country has been torn by internal civil wars as political factions and ethnic groups fought for sovereignty. What actually bound the Union of Myanmar together? And where might discussions of such painful and politically sensitive questions take place? Advertising as a Space for Crafting Conversations of National Identity In a report on Asian Advertising, Mila Chaplin of Mango Marketing, the agency charged with launching the Telenor brand in Myanmar, observes thatin many markets, brands talk about self-expression and invite consumers to get involved in co-creation … . In Myanmar what the consumers really need is some guidance on how to start crafting [national] …] identities. (4) Advertising has often been used as a means of retelling national stories and myths as well as a site for the collective imaginary to be visualised (Sawchuk 43). However, Myanmar was unlike other territories. Decades of heavy censorship and isolationist diplomatic policies, euphemistically named the “closed” period, left the country without a functional, independent national media. Television programming, including advertising, was regulated and national identity was an edict, not a shared conversation. With the advent of democratic reforms in 2011, ushering in a new “open” period, paid advertising campaigns in 2015 offered an in-between space on nationally broadcast television where it was possible to discuss questions of national identity from a perspective other than that of the government (Chaplin). Such conversations had to be conducted sensitively, given that the military were still the true national power. However, an advertising campaign that launched a new way to physically connect the country almost inevitably had to address questions of shared identity as well as clearly set out how the alien technology might shape the nation. To do so required addressing the country’s painful colonial past. The Hybrid in National Narratives of Myanmar In contemporary Myanmar, the smartphone is synonymous with military and government power (mobile Internet traffic in northern Rakhine state, for example, has been shut down since February 2020, ostensibly for security). Yet, when the phone was first introduced in 2014, it too was seen as a “foreign” object, one that had the potential to connect but also “instantiated ... a worldly sensibility that national borders and boundaries are potentially breached, and thus in need of protection from ‘others’” (Sawchuk 45). This fear of foreign influence coupled with the yearning for connection with the outside world is summed up by Ei Phyu Aung, editor of Myanmar’s weekly entertainment journal Sunday:it’s like dust coming in when you open the window. We can’t keep the window closed forever so we have to find a way to minimize the dust and maximize the sunlight. (Thin)Ei Phyu Aung wishes to enjoy the benefits of connecting with the world outside (sunlight) yet also fears cultural pollution (dust) linked with exploitation, an anxiety that reflects Myanmar’s approach to belonging and citizenship, shaped by its colonial history. Myanmar, formerly known as Burma, was colonised in stages. Upper Burma was annexed by British forces in 1886, completing a process of colonisation begun with the first Anglo-Burmese wars of 1823. The royal family was exiled from the pre-colonial capital at Mandalay and the new colony ruled as a province of India. Indian migration, particularly to Rangoon, was encouraged and these highly visible, economic migrants became the symbol of colonialism, of foreign exploitation. A deep mistrust of foreign influence, based on the experiences of colonialism, continued to shape the nation decades after independence. The 1962 military coup was followed by the expulsion of “foreigners” in 1964 as the country pursued a policy of isolation. In 1982, the government introduced a new citizenship law “driven as much by a political campaign to exclude the ‘alien’ from the country as to define the ‘citizen’” (Transnational Institute 10). This law only recognises ethnicities who can prove their presence prior to 1824, the year British forces first annexed lower Burma. As a consequence of the 1982 laws, groups such as the Rohingya are considered “Bengali migrants” and those descended from Chinese and Indian diasporas are excluded from full citizenship. In 1989, the ruling State Law and Order Council (SLORC) changed the country’s name to Myanmar and the anglicised Rangoon to Yangon. Thus the story of Burma/Myanmar since independence is of a nation that continues to be traumatised by colonisation. Given the mistrust of the foreign, how then might an anomalous hybrid object like the smartphone be received? Smartphone Advertising and National Narratives Television advertising is well suited to creating a sense of national identity; commercials are usually broadcast repeatedly. As Sarah Ahmed argues, it is through “the repetition of norms” that “boundary, fixity and surface of ‘social forms’ such as the ‘nation’ are produced” (Cultural Politics of Emotion 12). In her article, “The Skin of Community”, Ahmed describes these boundaries as a kind of “skin”, where difference is recognised through affective responses, such as disgust or delight. These responses and their associated meanings delineate a kind of belonging through shared experience, akin to shared identity—a shared skin. Telenor’s first advertisement in this space, Breakfast, draws from the metaphor of skin as boundary, connecting a family meal with cultural myths and social history. Breakfast was developed by Mango Marketing Services in 2014 and Telenor launched its initial television campaign in 2015, consisting of several advertisements brought to market in the period between 2014 and 2016 (Hicks, Mumbrella). The commercial runs for 60 seconds, a relatively expensive long format typical of a broadly-disseminated launch where the advertiser aims to introduce something new to the public and subsequently, build market share. Opening with images of Yangon, the country’s commercial centre, Breakfast tells the story of May, a newlywed, and the first time she cooks for her in-laws. May’s mother-in-law requests a famous breakfast dish, nanjithoke, typical of Mandalay, where May is from. But May does not know how to cook the dish and blunders around the kitchen as her in-laws wait. Sensing her distress, her husband suggests that she use his smartphone to call her mother in Mandalay and get the recipe. May’s dish is approved by her in-laws as tasty and authentic. In Breakfast, the phone is used as if it were a landline, its mobility not wholly relevant. The locations of both parties, May and her mother, are fixed and predictable and the phone in both instances is closely associated with connecting homes and more significantly, two important cities, Yangon and Mandalay. The advertisement presents the smartphone as solving the systemic problem of unreliable telecommunication in Myanmar as well as its lack of access; there is a final message reassuring the user that calls are affordable. That the smartphone is shown as part of everyday life presents it as a force for stability, a service that locates and connects fixed places. This in itself represented a profound shift for most people, in light of the fact that such communication was not possible during the “closed” period. Thus, this foreign, hybrid object enables what was not previously possible.While the benefits of the smartphone and network may be clear, the subtext of the advertisement nonetheless points to fears of foreign influence and the dangers of introducing an alien object into everyday life. To mitigate these concerns, May is presented in the traditional htamein or longyi and aingi, a long wrap skirt and fitted blouse with sleeves that end on the forearm, rather than western jeans and a t-shirt—both types of clothing are commonly worn in Yangon. Her hair is pulled back and pinned up, her makeup is subtle. She inhabits domestic space and does not have her own smartphone. In fact, it does not even occur to her to call her mother for the nanjithoke recipe, which is slightly surprising given her mother has a smartphone and knows how to use it, indicating that she has probably had it for some time. This subtext reflects conservative power structures in which elder generations pass knowledge down to new generations. The choice to connect Yangon and Mandalay through the local noodle dish is also significant. Breakfast makes manifest historic meanings associated with “place” a mapping of the “hidden” and “already given cultural order” (Mazzarella 24-25). As discussed earlier, Yangon was the colonial capital, known as an Indian city, but Mandalay as the pre-colonial capital remains a seat of cultural sophistication, where the highest form of the Myanmar language is spoken. The choice to connect Myanmar with the phone, as foreign object and bearer of anomaly, should be read as a repudiation of its bordered past, when foreigners (or kalaa, a derogatory term), including European ambassadors, were kept separate from the royal family by walls and a moat. The commercial, too, strongly evokes a shared skin of community through the evocation of the senses, from Yangon’s heat to the anticipation of a tasty and authentic meal, as well as through the visualisation of kinship and inheritance. In one extremely slow dissolve, May and her mother share the screen simultaneously, compressed in space as well as time. It is as if their skin of kinship is stretched before us. As the viewer’s eye passes from left to right across the screen, May’s present, past, and future is visible. She too will become the mother, at the other end the phone, offering advice to her daughter. There is suggestion of a continuum, of an “immemorial past” (Anderson 12), part of a national narrative that connects to pre-colonial Mandalay and the cultural systems that precede it, to the modern city of Yangon, still the commercial of contemporary Myanmar.At first glance, Breakfast seems to position the phone as an object that will enable Myanmar to stay Myanmarese through the strengthening of family connections. The commercial also strives to allay fears of the phone as a source of cultural pollution or exploitation by demonstrating its adoption among the older generation and inserting it into a fantasy of an uninterrupted culture, harking back to pre-colonial Burma. Yet, while the phone is represented in anodyne terms, it is only because it is an anomalous and hybrid object that such connections are possible. Furthermore, the smartphone in this representation also enables a connection between pre-colonial Mandalay to contemporary Yangon, breaching painful associations with both annexation and colonisation. In contrast to the advertisement Breakfast, Telenor’s information video, Why we should use SIM slot 1, does not attempt to disassociate the smartphone with foreignness. Instead, it capitalises on the smartphone as a hybrid object whose benefit is that it can be adapted to specific needs, including faster Internet speeds to enable connection to external video channel, such as YouTube.The video features young women dressed in foreign jeans and short-sleeved tops, wearing Western-style make-up, including sparkly nail polish. Both women appear to own their smartphones, and one is technically adept, delivering the complex information about which slot to use to facilitate the fastest Internet connection. Neither has difficulty with negotiating the complicated ports beneath the back cover of their smartphone to make the necessary change. They are happy to alter their phones to suit their own needs. These women are perhaps more closely in line with other markets, where the younger generation “do not expect to follow their parents’ practice” (Horst and Miller 9). This is in direct contrast to Breakfast, where May’s middle-aged mother has adopted the phone and, in keeping with conservative power structures, is already well-versed in its uses and capabilities. While this video was never intended to be seen by the audience for Breakfast, there remain parallels in the way the smartphone enables a connection within the control of its user: like May’s mother, both women in Breakfast are able to control or mitigate the foreign material through the manipulation of their device, moving from 2G to H+. They can opt in or out of the H+ network.This article has explored discussions of national identity prompted by the introduction of the smartphone to Myanmar during a moment of unprecedented political change. Breakfast, the advertisement that launched the smartphone into the country, offered a space in which the people of Myanmar were able to address questions of national identity and gently probe the discomfort of the colonial past. The communication video Why we should use SIM slot 1 reflects Myanmar’s burgeoning sense of connection with the region and presents the smartphone as customisable. The smartphone in advertising is thus positioned as a means for connecting the generations and continuing the immemorial past of the Burmese nation into the future, as well as a hybrid object capable of linking the country to the outside world. Further directions for this enquiry might consider how the discussion of Myanmar’s national identity continues to be addressed and exploited through advertising in Myanmar, and how the smartphone’s hybridity is used to counteract established national narratives in other spaces.References Adas, Michael. The Burma Delta 1852-1941. Madison: U of Wisconsin P, 2011.Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso, 1983. Ahmed, Sara. Cultural Politics of Emotion. Edinburgh: Edinburgh UP, 2014.———. “The Skin of Community: Affect and Boundary Formation.” Revolt, Affect, Collectivity: The Unstable Boundaries of Kristeva’s Polis. Eds. Tina Chanter and Ewa Płonowska Ziarek. Albany: State U of New York, 2005. 95-111. Chaplin, Milla. “Advertising in Myanmar: Digging Deep to Even Scratch the Surface.” WARC, Mar. 2016. <https://origin.warc.com/content/paywall/article/warc-exclusive/advertising-in-myanmar-digging-deep-to-even-scratch-the-surface/106815>.Charney, Michael W. A History of Modern Burma. Cambridge, Cambridge UP: 2009.Cheesman, Nick. “How in Myanmar ‘National Races’ Came to Surpass Citizenship and Exclude Rohingya.” Journal of Contemporary Asia 47.3 (2017): 461‑483.Fink, Christine. “Dangerous Speech, Anti-Muslim Violence, and Facebook in Myanmar.” Journal of International Affairs 71.1 (2018): 43‑52.Hicks, Robin. “Telenor Launches First TV Ad in Myanmar.” Mumbrella, 2 Feb. 2015. <http://www.mumbrella.asia/2015/02/telenor-launches-first-tv-ad-myanmar>.Horst, Heather A., and Daniel Miller. The Cell Phone. An Anthropology of Communication. New York: Berg, 2006.Kyaw Myint. “Myanmar Country Report.” Financing ASEAN Connectivity: ERIA Research Project Report. Eds. F. Zen and M. Regan. Jakarta: ERIA, 2014. 221-267. Breakfast. Mango Creative, Mango Media Marketing, Telenor Myanmar. 26 Jan. 2015. <https://www.youtube.com/watch?v=2G2xjK8QFSo>.Mazzarella, William. Shovelling Smoke. Advertising and Globalization in Contemporary India. Durham and London: Duke UP, 2003.“Mobile Mania.” The Economist. 24 Jan. 2015. <https://www.economist.com/business/2015/01/22/mobile-mania>.Nyi Nyi Kyaw. “Adulteration of Pure Native Blood by Aliens? Mixed Race Kapya in Colonial and Post-Colonial Myanmar.” Social Identities 25.3 (2018): 345-359. ———. “Facebooking in Myanmar: From Hate Speech to Fake News to Partisan Political Communication.” Yusof Ishak Institute Perspective 36 (2019): 1-10. Sawchuk, Kim. “Radio Hats, Wireless Rats and Flying Families.” The Wireless Spectrum: The Politics, Practices and Poetics of Mobile Media. Eds. Barbara Crow, Michael Longford, and Kim Sawchuk. Toronto: U of Toronto P, 2010.Thin Lei Win. “Beauty Pageants Expose Dreams and Dangers in Modern Myanmar.” Reuters, 26 Sep. 2014. <https://www.reuters.com/article/us-foundation-myanmar-beautycontests/beauty-pageants-expose-dreams-and-dangers-in-modern-myanmar-idUSKCN0HL0Y520140926>.Transnational Institute. “Ethnicity without Meaning, Data without Context: The 2014 Census, Identity and Citizenship in Burma/Myanmar.” Amsterdam: TNI-BCN Burma Policy Briefing, 2014.

“There is nothing more public than privacy.” (Berlant and Warner, Sex) How did it come to this? How did it happen that a one-off, two-hour event at a public swimming pool in a suburb of outer Melbourne ignited international hate mail and generated media-fanned political anguish and debate about the proper use of public spaces? In 2010, women who attend a women’s only swim session on Sunday evenings at the Dandenong Oasis public swimming pool asked the pool management and the local council for permission to celebrate the end of Ramadan at the pool during the time of their regular swim session. The request was supported by the pool managers and the council and promoted by both as an opportunity for family and friends to get together in a spirit of multicultural learning and understanding. Responding to criticisms of the event as an unreasonable claim on public facilities by one group, the Mayor of the City of Greater Dandenong, Jim Memeti, rejected claims that this event discriminates against non-Muslim residents of the suburb. But here’s the rub. The event, to be held after hours at the pool, requires all participants older than ten years of age to follow a dress code of knee-length shorts and T-shirts. This is a suburban moment that is borne of but exceeds the local. It reflects and responds to a contemporary global conundrum of great political and theoretical significance—how to negotiate and govern the relations between multiculturalism, religion, gender, sexual freedom, and democracy. Specifically this event speaks to how multicultural democracy in the public sphere negotiates the public presence and expression of different cultural and religious frameworks related to gender and sexuality. This is demanding political stuff. Situated in the messy political and theoretical terrains of the relation between public space and the public sphere, this local moment called for political judgement about how cultural differences should be allowed to manifest in and through public space, giving consideration to the potential effects of these decisions on an inclusive multicultural democracy. The local authorities in Dandenong engaged in an admirable process of democratic labour as they puzzled over how to make decisions that were responsible and equitable, in the absence of a rulebook or precedents for success. Ultimately however this mode of experimental decision-making, which will become increasingly necessary to manage such predicaments in the future, was foreclosed by unwarranted and unhelpful media outrage. "Foreclosed" here stresses the preemptive nature of the loss; a lost opportunity for trialing approaches to governing cultural diversity that may fail, but might then be modified. It was condemned in advance of either success or failure. The role of the media rather than the discomfort of the local publics has been decisive in this event.This Multicultural SuburbDandenong is approximately 30 kilometres southeast of central Melbourne. Originally home to the Bunorong People of the Kulin nation, it was settled by pastoralists by the 1800s, heavily industrialised during the twentieth century, and now combines cultural diversity with significant social disadvantage. The City of Greater Dandenong is proud of its reputation as the most culturally and linguistically diverse municipality in Australia. Its population of approximately 138,000 comprises residents from 156 different language groups. More than half (56%) of its population was born overseas, with 51% from nations where English is not the main spoken language. These include Vietnam, Cambodia, Sri Lanka, India, China, Italy, Greece, Bosnia and Afghanistan. It is also a place of significant religious diversity with residents identifying as Buddhist (15 per cent) Muslim (8 per cent), Hindu (2 per cent) and Christian (52 per cent) [CGD]. Its city logo, “Great Place, Great People” evokes its twin pride in the placemaking power of its diverse population. It is also a brazen act of civic branding to counter its reputation as a derelict and dangerous suburb. In his recent book The Bogan Delusion, David Nichols cites a "bogan" website that names Dandenong as one of Victoria’s two most bogan areas. The other was Moe. (p72). The Sunday Age newspaper had already depicted Dandenong as one of two excessively dangerous suburbs “where locals fear to tread” (Elder and Pierik). The other suburb of peril was identified as Footscray.Central Dandenong is currently the site of Australia’s largest ever state sponsored Urban Revitalisation program with a budget of more than $290 million to upgrade infrastructure, that aims to attract $1billion in private investment to provide housing and future employment.The Cover UpIn September 2010, the Victorian and Civil and Administrative Appeals Tribunal (VCAT) granted the YMCA an exemption from the Equal Opportunity Act to allow a dress code for the Ramadan event at the Oasis swimming pool that it manages. The "Y" sees the event as “an opportunity for the broader community to learn more about Ramadan and the Muslim faith, and encourages all members of Dandenong’s diverse community to participate” (YMCA Ramadan). While pool management and the municipal council refer to the event as an "opening up" of the closed swimming session, the media offer a different reading of the VCAT decision. The trope of the "the cover up" has framed most reports and commentaries (Murphy; Szego). The major focus of the commentaries has not been the event per se, but the call to dress "appropriately." Dress codes however are a cultural familiar. They exist for workplaces, schools, nightclubs, weddings, racing and sporting clubs and restaurants, to name but a few. While some of these codes or restrictions are normatively imposed rather than legally required, they are not alien to cultural life in Australia. Moreover, there are laws that prohibit people from being meagerly dressed or naked in public, including at beaches, swimming pools and so on. The dress code for this particular swimming pool event was, however, perceived to be unusual and, in a short space of time, "unusual" converted to "social threat."Responses to media polls about the dress code reveal concerns related to the symbolic dimensions of the code. The vast majority of those who opposed the Equal Opportunity exemption saw it as the thin edge of the multicultural wedge, a privatisation of public facilities, or a denial of the public’s right to choose how to dress. Tabloid newspapers reported on growing fears of Islamisation, while the more temperate opposition situated the decision as a crisis of human rights associated with tolerating illiberal cultural practices. Julie Szego reflects this view in an opinion piece in The Age newspaper:the Dandenong pool episode is neither trivial nor insignificant. It is but one example of human rights laws producing outcomes that restrict rights. It raises tough questions about how far public authorities ought to go in accommodating cultural practices that sit uneasily with mainstream Western values. (Szego)Without enquiring into the women’s request and in the absence of the women’s views about what meaning the event held for them, most media commentators and their electronically wired audiences treated the announcement as yet another alarming piece of evidence of multicultural failure and the potential Islamisation of Australia. The event raised specific concerns about the double intrusion of cultural difference and religion. While the Murdoch tabloid Herald Sun focused on the event as “a plan to force families to cover up to avoid offending Muslims at a public event” (Murphy) the liberal Age newspaper took a more circumspect approach, reporting on its small vox pop at the Dandenong pool. Some people here referred to the need to respect religions and seemed unfazed by the exemption and the event. Those who disagreed thought it was important not to enforce these (dress) practices on other people (Carey).It is, I believe, significant that several employees of the local council informed me that most of the opposition has come from the media, people outside of Dandenong and international groups who oppose the incursion of Islam into non-Islamic settings. Opposition to the event did not appear to derive from local concern or opposition.The overwhelming majority of Herald Sun comments expressed emphatic opposition to the dress code, citing it variously as unAustralian, segregationist, arrogant, intolerant and sexist. The Herald Sun polled readers (in a self-selecting and of course highly unrepresentative on-line poll) asking them to vote on whether or not they agreed with the VCAT exemption. While 5.52 per cent (512 voters) agreed with the ruling, 94.48 per cent (8,760) recorded disagreement. In addition, the local council has, for the first time in memory, received a stream of hate-mail from international anti-Islam groups. Muslim women’s groups, feminists, the Equal Opportunity Commissioner and academics have also weighed in. According to local reports, Professor of Islamic Studies at the University of Melbourne, Shahram Akbarzadeh, considered the exemption was “nonsense” and would “backfire and the people who will pay for it will be the Muslim community themselves” (Haberfield). He repudiated it as an example of inclusion and tolerance, labeling it “an effort of imposing a value system (sic)” (Haberfield). He went so far as to suggest that, “If Tony Abbott wanted to participate in his swimwear he wouldn’t be allowed in. That’s wrong.” Tasneem Chopra, chairwoman of the Islamic Women’s Welfare Council and Sherene Hassan from the Islamic Council of Victoria, both expressed sensitivity to the group’s attempt to establish an inclusive event but would have preferred the dress code to be a matter of choice rather coercion (Haberfield, "Mayor Defends Dandenong Pool Cover Up Order"). Helen Szoke, the Commissioner of the Victorian Equal Opportunity and Human Rights Commission, defended the pool’s exemption from the Law that she oversees. “Matters such as this are not easy to resolve and require a balance to be achieved between competing rights and obligations. Dress codes are not uncommon: e.g., singlets, jeans, thongs etc in pubs/hotels” (in Murphy). The civil liberties organisation, Liberty Victoria, supported the ban because the event was to be held after hours (Murphy). With astonishing speed this single event not only transformed the suburban swimming pool to a theatre of extra-local disputes about who and what is entitled to make claims on public space and publically funded facilities, but also fed into charged debates about the future of multiculturalism and the vulnerability of the nation to the corrosive effects of cultural and religious difference. In this sense suburbs like Dandenong are presented as sites that not only generate fear about physical safety but whose suburban sensitivities to its culturally diverse population represent a threat to the safety of the nation. Thus the event both reflects and produces an antipathy to cultural difference and to the place where difference resides. This aversion is triggered by and mediated in this case through the figure, rather than the (corpo)reality, of the Muslim woman. In this imagining, the figure of the Muslim woman is assigned the curious symbolic role of "cultural creep." The debates around the pool event is not about the wellbeing or interests of the Muslim women themselves, nor are broader debates about the perceived, culturally-derived restrictions imposed on Muslim women living in Australia or other western countries. The figure of the Muslim woman is, I would argue, simply the ground on which the debates are held. The first debate relates to social and public space, access to which is considered fundamental to freedom and participatory democracy, and in current times is addressed in terms of promoting inclusion, preventing exclusion and finding opportunities for cross cultural encounters. The second relates not to public space per se, but to the public sphere or the “sphere of private people coming together as a public” for political deliberation (Habermas 21). The literature and discussions dealing with these two terrains have remained relatively disconnected (Low and Smith) with public space referring largely to activities and opportunities in the socio-cultural domain and the public sphere addressing issues of politics, rights and democracy. This moment in Dandenong offers some modest leeway for situating "the suburb" as an ideal site for coalescing these disparate discussions. In this regard I consider Iveson’s provocative and productive question about whether some forms of exclusions from suburban public space may actually deepen the democratic ideals of the public sphere. Exclusions may in such cases be “consistent with visions of a democratically inclusive city” (216). He makes his case in relation to a dispute about the exclusion of men exclusion from a women’s only swimming pool in the Sydney suburb of Coogee. The Dandenong case is similarly exclusive with an added sense of exclusion generated by an "inclusion with restrictions."Diversity, Difference, Public Space and the Public SphereAs a prelude to this discussion of exclusion as democracy, I return to the question that opened this article: how did it come to this? How is it that Australia has moved from its renowned celebration and pride in its multiculturalism so much in evidence at the suburban level through what Ghassan Hage calls an “unproblematic” multiculturalism (233) and what others have termed “everyday multiculturalism” (Wise and Velayutham). Local cosmopolitanisms are often evinced through the daily rituals of people enjoying the ethnic cuisines of their co-residents’ pasts, and via moments of intercultural encounter. People uneventfully rub up against and greet each other or engage in everyday acts of kindness that typify life in multicultural suburbs, generating "reservoirs of hope" for democratic and cosmopolitan cities (Thrift 147). In today’s suburbs, however, the “Imperilled Muslim women” who need protection from “dangerous Muslim men” (Razack 129) have a higher discursive profile than ethnic cuisine as the exemplar of multiculturalism. Have we moved from pleasure to hostility or was the suburban pleasure in racial difference always about a kind of “eating the other” (bell hooks 378). That is to ask whether our capacity to experience diversity positively has been based on consumption, consuming the other for our own enrichment, whereas living with difference entails a commitment not to consumption but to democracy. This democratic multicultural commitment is a form of labour rather than pleasure, and its outcome is not enrichment but transformation (although this labour can be pleasurable and transformation might be enriching). Dandenong’s prized cultural precincts, "Little India" and the "Afghan bazaar" are showcases of food, artefacts and the diversity of the suburb. They are centres of pleasurable and exotic consumption. The pool session, however, requires one to confront difference. In simple terms we can think about ethnic food, festivals and handicrafts as cultural diversity, and the Muslim woman as cultural difference.This distinction between diversity and difference is useful for thinking through the relation between multiculturalism in public space and multicultural democracy of the public sphere. According to the anthropologist Thomas Hylland Eriksen, while a neoliberal sensibility supports cultural diversity in the public space, cultural difference is seen as a major cause of social problems associated with immigrants, and has a diminishing effect on the public sphere (14). According to Eriksen, diversity is understood as aesthetic, or politically and morally neutral expressions of culture that are enriching (Hage 118) or digestible. Difference, however, refers to morally objectionable cultural practices. In short, diversity is enriching. Difference is corrosive. Eriksen argues that differences that emerge from distinct cultural ideas and practices are deemed to create conflicts with majority cultures, weaken social solidarity and lead to unacceptable violations of human rights in minority groups. The suburban swimming pool exists here at the boundary of diversity and difference, where the "presence" of diverse bodies may enrich, but their different practices deplete and damage existing culture. The imperilled Muslim woman of the suburbs carries a heavy symbolic load. She stands for major global contests at the border of difference and diversity in three significant domains, multiculturalism, religion and feminism. These three areas are positioned simultaneously in public space and of the public sphere and she embodies a specific version of each in this suburban setting. First, there a global retreat from multiculturalism evidenced in contemporary narratives that describe multiculturalism (both as official policy and unofficial sensibility) as failed and increasingly ineffective at accommodating or otherwise dealing with religious, cultural and ethnic differences (Cantle; Goodhart; Joppke; Poynting and Mason). In the UK, Europe, the US and Australia, popular media sources and political discourses speak of "parallel lives,"immigrant enclaves, ghettoes, a lack of integration, the clash of values, and illiberal cultural practices. The covered body of the Muslim woman, and more particularly the Muslim veil, are now read as visual signs of this clash of values and of the refusal to integrate. Second, religion has re-emerged in the public domain, with religious groups and individuals making particular claims on public space both on the basis of their religious identity and in accord with secular society’s respect for religious freedom. This is most evident in controversies in France, Belgium and Netherlands associated with banning niqab in public and other religious symbols in schools, and in Australia in court. In this sense the covered Muslim woman raises concerns and indignation about the rightful place of religion in the public sphere and in social space. Third, feminism is increasingly invoked as the ground from which claims about the imperilled Muslim woman are made, particularly those about protecting women from their dangerous men. The infiltration of the Muslim presence into public space is seen as a threat to the hard won gains of women’s freedom enjoyed by the majority population. This newfound feminism of the public sphere, posited by those who might otherwise disavow feminism, requires some serious consideration. This public discourse rarely addresses the discrimination, violation and lack of freedom experienced systematically on an everyday basis by women of majority cultural backgrounds in western societies (such as Australia). However, the sexism of racially and religiously different men is readily identified and decried. This represents a significant shift to a dubious feminist register of the public sphere such that: “[w]omen of foreign origin, ...more specifically Muslim women…have replaced the traditional housewife as the symbol of female subservience” (Tissot 41–42).The three issues—multiculturalism, religion and feminism—are, in the Dandenong pool context, contests about human rights, democracy and the proper use of public space. Szego’s opinion piece sees the Dandenong pool "cover up" as an example of the conundrum of how human rights for some may curtail the human rights of others and lead us into a problematic entanglement of universal "rights," with claims of difference. In her view the combination of human rights and multiculturalism in the case of the Dandenong Pool accommodates illiberal practices that put the rights of "the general public" at risk, or as she puts it, on a “slippery slope” that results in a “watering down of our human rights.” Ideas that entail women making a claim for private time in public space are ultimately not good for "us."Such ideas run counter to the West's more than 500-year struggle for individual freedom—including both freedom of religion and freedom from religion—and for gender equality. Our public authorities ought to be pushing back hardest when these values are under threat. Yet this is precisely where they've been buckling under pressure (Szego)But a different reading of the relation between public and private space, human rights, democracy and gender freedom is readily identifiable in the Dandenong event—if one looks for it. Living with difference, I have already suggested, is a problem of democracy and the public sphere and does not so easily correspond to consuming diversity, as it demands engagement with cultural difference. In what remains, I explore how multicultural democracy in the public sphere and women’s rights in public and private realms relate, firstly, to the burgeoning promise of democracy and civility that might emerge in public space through encounter and exchange. I also point out how this moment in Dandenong might be read as a singular contribution to dealing with this global problematic of living with difference; of democracy in the public sphere. Public urban space has become a focus for speculation among geographers and sociologists in particular, about the prospects for an enhanced civic appreciation of living with difference through encountering strangers. Random and repetitious encounters with people from all cultures typify contemporary urban life. It remains an open question however as to whether these encounters open up or close down possibilities for conviviality and understanding, and whether they undo or harden peoples’ fears and prejudices. There is, however, at least in some academic and urban planning circles, some hope that the "throwntogetherness" (Massey) and the "doing" of togetherness (Laurier and Philo) found in the multicultural city may generate some lessons and opportunities for developing a civic culture and political commitment to living with difference. Alongside the optimism of those who celebrate the city, the suburb, and public spaces as forging new ways of living with difference, there are those such as Gill Valentine who wonder how this might be achieved in practice (324). Ash Amin similarly notes that city or suburban public spaces are not necessarily “the natural servants of multicultural engagement” (Ethnicity 967). Amin and Valentine point to the limited or fleeting opportunities for real engagement in these spaces. Moreover Valentine‘s research in the UK revealed that the spatial proximity found in multicultural spaces did not so much give rise to greater mutual respect and engagement, but to a frustrated “white self-segregation in the suburbs.” She suggests therefore that civility and polite exchange should not be mistaken for respect (324). Amin contends that it is the “micro-publics” of social encounters found in workplaces, schools, gardens, sports clubs [and perhaps swimming pools] rather than the fleeting encounters of the street or park, that offer better opportunities for meaningful intercultural exchange. The Ramadan celebration at the pool, with its dress code and all, might be seen more fruitfully as a purposeful event engaging a micro-public in which people are able to “break out of fixed relations and fixed notions” and “learn to become different” (Amin, Ethnicity 970) without that generating discord and resentment.Micropublics, Subaltern Publics and a Democracy of (Temporary) ExclusionsIs this as an opportunity to bring the global and local together in an experiment of forging new democratic spaces for gender, sexuality, culture and for living with difference? More provocatively, can we see exclusion and an invitation to share in this exclusion as a precursor to and measure of, actually existing democracy? Painter and Philo have argued that democratic citizenship is questionable if “people cannot be present in public spaces (streets, squares, parks, cinemas, churches, town halls) without feeling uncomfortable, victimized and basically ‘out of place’…" (Iveson 216). Feminists have long argued that distinctions between public and private space are neither straightforward nor gender neutral. For Nancy Fraser the terms are “cultural classifications and rhetorical labels” that are powerful because they are “frequently deployed to delegitimate some interests, views and topics and to valorize others” (73). In relation to women and other subordinated minorities, the "rhetoric of privacy" has been historically used to restrict the domain of legitimate public contestation. In fact the notion of what is public and particularly notions of the "public interest" and the "public good" solidify forms of subordination. Fraser suggests the concept of "subaltern counterpublics" as an alternative to notions of "the public." These are discursive spaces where groups articulate their needs, and demands are circulated formulating their own public sphere. This challenges the very meaning and foundational premises of ‘the public’ rather than simply positing strategies of inclusion or exclusion. The twinning of Amin’s notion of "micro-publics" and Fraser’s "counterpublics" is, I suggest, a fruitful approach to interpreting the Dandenong pool issue. It invites a reading of this singular suburban moment as an experiment, a trial of sorts, in newly imaginable ways of living democratically with difference. It enables us to imagine moments when a limited democratic right to exclude might create the sorts of cultural exchanges that give rise to a more authentic and workable recognition of cultural difference. I am drawn to think that this is precisely the kind of democratic experimentation that the YMCA and Dandenong Council embarked upon when they applied for the Equal Opportunity exemption. I suggest that by trialing, rather than fixing forever a "critically exclusive" access to the suburban swimming pool for two hours per year, they were in fact working on the practical problem of how to contribute in small but meaningful ways to a more profoundly free democracy and a reworked public sphere. In relation to the similar but distinct example of the McIver pool for women and children in Coogee, New South Wales, Kurt Iveson makes the point that such spaces of exclusion or withdrawal, “do not necessarily serve simply as spaces where people ‘can be themselves’, or as sites through which reified identities are recognised—in existing conditions of inequality, they can also serve as protected spaces where people can take the risk of exploring who they might become with relative safety from attack and abuse” (226). 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On 17 January 2013, Wired chose the smart contact lens as one of “7 Massive Ideas That Could Change the World” describing a Google-led research project. Wired explains that the inventor, Dr. Babak Parviz, wants to build a microsystem on a contact lens: “Using radios no wider than a few human hairs, he thinks these lenses can augment reality and incidentally eliminate the need for displays on phones, PCs, and widescreen TVs”. Explained further in other sources, the technology entails an antenna, circuits embedded into a contact lens, GPS, and an LED to project images on the eye, creating a virtual display (Solve for X). Wi-Fi would stream content through a transparent screen over the eye. One patent describes a camera embedded in the lens (Etherington). Another mentions medical sensing, such as glucose monitoring of tears (Goldman). In other words, Google proposes an imagined future when we use contact lenses to search the Internet (and be searched by it), shop online, communicate with friends, work, navigate maps, swipe through Tinder, monitor our health, watch television, and, by that time, probably engage in a host of activities not yet invented. Often referred to as a bionic contact, the smart contact lens would signal a weighty shift in the way we work, socialize, and frame our online identities. However, speculative discussion over this radical shift in personal computing, rarely if ever, includes consideration of how the body, acting as a host to digital information, will manage to assimilate not only significant affordances, but also significant constraints and vulnerabilities. At this point, for most people, the smart contact lens is just an idea. Is a new medium of communication started when it is launched in an advertising campaign? When we Like it on Facebook? If we chat about it during a party amongst friends? Or, do a critical mass of people actually have to be using it to say it has started? One might say that Apple’s Macintosh computer started as a media platform when the world heard about the famous 1984 television advertisement aired during the American NFL Super Bowl of that year. Directed by Ridley Scott, the ad entails an athlete running down a passageway and hurling a hammer at a massive screen depicting cold war style rulers expounding state propaganda. The screen explodes freeing those imprisoned from their concentration camp existence. The direct reference to Orwell’s 1984 serves as a metaphor for IBM in 1984. PC users were made analogous to political prisoners and IBM served to represent the totalitarian government. The Mac became a something that, at the time, challenged IBM, and suggested an alternative use for the desktop computer that had previously been relegated for work rather than life. Not everyone bought a Mac, but the polemical ad fostered the idea that Mac was certainly the start of new expectations, civic identities, value-systems, and personal uses for computers. The smart contact lens is another startling start. News of it shocks us, initiates social media clicks and forwards, and instigates dialogue. But, it also indicates the start of a new media paradigm that is already undergoing popular adoption as it is announced in mainstream news and circulated algorithmically across media channels. Since 2008, news outlets like CNN, The New York Times, The Globe and Mail, Asian International News, United News of India, The Times of London and The Washington Post have carried it, feeding the buzz in circulation that Google intends. Attached to the wave of current popular interest generated around any technology claiming to be “wearable,” a smart contact lens also seems surreptitious. We would no longer hold smartphones, but hide all of that digital functionality beneath our eyelids. Its emergence reveals the way commercial models have dramatically changed. The smart contact lens is a futuristic invention imagined for us and about us, but also a sensationalized idea socializing us to a future that includes it. It is also a real device that Parviz (with Google) has been inventing, promoting, and patenting for commercial applications. All of these workings speak to a broader digital culture phenomenon. We argue that the smart contact lens discloses a process of nascent posthuman adaptation, launched in an era that celebrates wearable media as simultaneously astonishing and banal. More specifically, we adopt technology based on our adaptation to it within our personal, political, medial, social, and biological contexts, which also function in a state of flux. N. Katherine Hayles writes that “Contemporary technogenesis, like evolution in general, is not about progress ... rather, contemporary technogenesis is about adaptation, the fit between organisms and their environments, recognizing that both sides of the engagement (human and technologies) are undergoing coordinated transformations” (81). This article attends to the idea that in these early stages, symbolic acts of adaptation signal an emergent medium through rhetorical processes that society both draws from and contributes to. In terms of project scope, this article contributes a focused analysis to a much larger ongoing digital rhetoric project. For the larger project, we conducted a discourse analysis on a collection of international publications concerning Babak Parviz and the invention. We searched for and collected newspaper stories, news broadcasts, YouTube videos from various sources, academic journal publications, inventors’ conference presentations, and advertising, all published between January 2008 and May 2014, generating a corpus of more than 600 relevant artifacts. Shortly after this time, Dr. Parviz, a Professor at the University of Washington, left the secretive GoogleX lab and joined Amazon.com (Mac). For this article we focus specifically on the idea of beginnings or genesis and how digital spaces increasingly serve as the grounds for emergent digital cultural phenomena that are rarely recognized as starting points. We searched through the corpus to identify a few exemplary international mainstream news stories to foreground predominant tropes in support of the claim we make that smart contacts lenses are a startling idea. Content producers deliberately use astonishment as a persuasive device. We characterize the idea of a smart contact lens cast in rhetorical terms in order to reveal how its allure works as a process of adaptation. Rhetorician and philosopher, Kenneth Burke writes that “rhetorical language is inducement to action (or to attitude)” (42). A rhetorical approach is instrumental because it offers a model to explain how we deploy, often times, manipulative meaning as senders and receivers while negotiating highly complex constellations of resources and contexts. Burke’s rhetorical theory can show how messages influence and become influenced by powerful hierarchies in discourse that seem transparent or neutral, ones that seem to fade into the background of our consciousness. For this article, we also concentrate on rhetorical devices such as ethos and the inventor’s own appeals through different modes of communication. Ethos was originally proposed by Aristotle to identify speaker credibility as a persuasive tactic. Addressed by scholars of rhetoric for centuries, ethos has been reconfigured by many critical theorists (Burke; Baumlin Ethos; Hyde). Baumlin and Baumlin suggest that “ethos describes an audience’s projection of authority and trustworthiness onto the speaker ... ethos suggests that the ethical appeal to be a radically psychological event situated in the mental processes of the audience – as belonging as much to the audience as to the actual character of a speaker” (Psychology 99). Discussed in the next section, our impression of Parviz and his position as inventor plays a dramatic role in the surfacing of the smart contact lens. Digital Rhetoric is an “emerging scholarly discipline concerned with the interpretation of computer-generated media as objects of study” (Losh 48). In an era when machine-learning algorithms become the messengers for our messages, which have become commodity items operating across globalized, capitalist networks, digital rhetoric provides a stable model for our approach. It leads us to demonstrate how this emergent medium and invention, the smart contact lens, is born amid new digital genres of speculative communication circulated in the everyday forums we engage on a daily basis. Smart Contact Lenses, Sensationalism, and Identity One relevant site for exploration into how an invention gains ethos is through writing or video penned or produced by the inventor. An article authored by Parviz in 2009 discusses his invention and the technical advancements that need to be made before the smart contact lens could work. He opens the article using a fictional and sensationalized analogy to encourage the adoption of his invention: The human eye is a perceptual powerhouse. It can see millions of colors, adjust easily to shifting light conditions, and transmit information to the brain at a rate exceeding that of a high-speed Internet connection.But why stop there?In the Terminator movies, Arnold Schwarzenegger’s character sees the world with data superimposed on his visual field—virtual captions that enhance the cyborg’s scan of a scene. In stories by the science fiction author Vernor Vinge, characters rely on electronic contact lenses, rather than smartphones or brain implants, for seamless access to information that appears right before their eyes. Identity building is made to correlate with smart contact lenses in a manner that frames them as exciting. Coming to terms with them often involves casting us as superhumans, wielding abilities that we do not currently possess. One reason for embellishment is because we do not need digital displays on the eyes, so the motive to use them must always be geared to transcending our assumed present condition as humans and society members. Consequently, imagination is used to justify a shift in human identity along a future trajectory.This passage above also instantiates a transformation from humanist to posthumanist posturing (i.e. “the cyborg”) in order to incent the adoption of smart contact lenses. It begins with the bold declarative statement, “The human eye is a perceptual powerhouse,” which is a comforting claim about our seemingly human superiority. Indexing abstract humanist values, Parviz emphasizes skills we already possess, including seeing a plethora of colours, adjusting to light on the fly, and thinking fast, indeed faster than “a high-speed Internet connection”. However, the text goes on to summon the Terminator character and his optic feats from the franchise of films. Filmic cyborg characters fulfill the excitement that posthuman rhetoric often seems to demand, but there is more here than sensationalism. Parviz raises the issue of augmenting human vision using science fiction as his contextualizing vehicle because he lacks another way to imbricate the idea. Most interesting in this passage is the inventor’s query “But why stop there?” to yoke the two claims, one biological (i.e., “The human eye is a perceptual powerhouse”) and one fictional (i.e. Terminator, Vernor Vinge characters). The query suggests, Why stop with human superiority, we may as well progress to the next level and embrace a smart contact lens just as fictional cyborgs do. The non-threatening use of fiction makes the concept seem simultaneously exciting and banal, especially because the inventor follows with a clear description of the necessary scientific engineering in the rest of the article. This rhetorical act signifies the voice of a technoelite, a heavily-funded cohort responding to global capitalist imperatives armed with a team of technologists who can access technological advancements and imbue comments with an authority that may extend beyond their fields of expertise, such as communication studies, sociology, psychology, or medicine. The result is a powerful ethos. The idea behind the smart contact lens maintains a degree of respectability long before a public is invited to use it.Parviz exhumes much cultural baggage when he brings to life the Terminator character to pitch smart contact lenses. The Terminator series of films has established the “Arnold Schwarzenegger” character a cultural mainstay. Each new film reinvented him, but ultimately promoted him within a convincing dystopian future across the whole series: The Terminator (Cameron), Terminator 2: Judgment Day (Cameron), Terminator 3: Rise of the Machines (Mostow), Terminator Salvation (McG) and Terminator Genisys (Taylor) (which appeared in 2015 after Parviz’s article). Recently, several writers have addressed how cyborg characters figure significantly in our cultural psyche (Haraway, Bukatman; Leaver). Tama Leaver’s Artificial Culture explores the way popular, contemporary, cinematic, science fiction depictions of embodied Artificial Intelligence, such as the Terminator cyborgs, “can act as a matrix which, rather than separating or demarcating minds and bodies or humanity and the digital, reinforce the symbiotic connection between people, bodies, and technologies” (31). Pointing out the violent and ultimately technophobic motive of The Terminator films, Leaver reads across them to conclude nevertheless that science fiction “proves an extremely fertile context in which to address the significance of representations of Artificial Intelligence” (63).Posthumanism and TechnogenesisOne reason this invention enters the public’s consciousness is its announcement alongside a host of other technologies, which seem like parts of a whole. We argue that this constant grouping of technologies in the news is one process indicative of technogenesis. For example, City A.M., London’s largest free commuter daily newspaper, reports on the future of business technology as a hodgepodge of what ifs: As Facebook turns ten, and with Bill Gates stepping down as Microsoft chairman, it feels like something is drawing to an end. But if so, it is only the end of the technological revolution’s beginning ... Try to look ahead ten years from now and the future is dark. Not because it is bleak, but because the sheer profusion of potential is blinding. Smartphones are set to outnumber PCs within months. After just a few more years, there are likely to be 3bn in use across the planet. In ten years, who knows – wearables? smart contact lenses? implants? And that’s just the start. The Internet of Things is projected to be a $300bn (£183bn) industry by 2020. (Sidwell) This reporting is a common means to frame the commodification of technology in globalized business news that seeks circulation as much as it does readership. But as a text, it also posits how individuals frame the future and their participation with it (Pedersen). Smart contacts appear to move along this exciting, unstoppable trajectory where the “potential is blinding”. The motive is to excite and scare. However, simultaneously, the effect is predictable. We are quite accustomed to this march of innovations that appears everyday in the morning paper. We are asked to adapt rather than question, consequently, we never separate the parts from the whole (e.g., “wearables? smart contact lenses? Implants”) in order to look at them critically.In coming to terms with Cary Wolf’s definition of posthumanism, Greg Pollock writes that posthumanism is the questioning that goes on “when we can no longer rely on ‘the human’ as an autonomous, rational being who provides an Archimedean point for knowing about the world (in contrast to “humanism,” which uses such a figure to ground further claims)” (208). With similar intent, N. Katherine Hayles formulating the term technogenesis suggests that we are not really progressing to another level of autonomous human existence when we adopt media, we are in effect, adapting to media and media are also in a process of adapting to us. She writes: As digital media, including networked and programmable desktop stations, mobile devices, and other computational media embedded in the environment, become more pervasive, they push us in the direction of faster communication, more intense and varied information streams, more integration of humans and intelligent machines, and more interactions of language with code. These environmental changes have significant neurological consequences, many of which are now becoming evident in young people and to a lesser degree in almost everyone who interacts with digital media on a regular basis. (11) Following Hayles, three actions or traits characterize adaptation in a manner germane to the technogenesis of media like smart contact lenses. The first is “media embedded in the environment”. The trait of embedding technology in the form of sensors and chips into external spaces evokes the onset of The Internet of Things (IoT) foundations. Extensive data-gathering sensors, wireless technologies, mobile and wearable components integrated with the Internet, all contribute to the IoT. Emerging from cloud computing infrastructures and data models, The IoT, in its most extreme, involves a scenario whereby people, places, animals, and objects are given unique “embedded” identifiers so that they can embark on constant data transfer over a network. In a sense, the lenses are adapted artifacts responding to a world that expects ubiquitous networked access for both humans and machines. Smart contact lenses will essentially be attached to the user who must adapt to these dynamic and heavily mediated contexts.Following closely on the first, the second point Hayles makes is “integration of humans and intelligent machines”. The camera embedded in the smart contact lens, really an adapted smartphone camera, turns the eye itself into an image capture device. By incorporating them under the eyelids, smart contact lenses signify integration in complex ways. Human-machine amalgamation follows biological, cognitive, and social contexts. Third, Hayles points to “more interactions of language with code.” We assert that with smart contact lenses, code will eventually govern interaction between countless agents in accordance with other smart devices, such as: (1) exchanges of code between people and external nonhuman networks of actors through machine algorithms and massive amalgamations of big data distributed on the Internet;(2) exchanges of code amongst people, human social actors in direct communication with each other over social media; and (3) exchanges of coding and decoding between people and their own biological processes (e.g. monitoring breathing, consuming nutrients, translating brainwaves) and phenomenological (but no less material) practices (e.g., remembering, grieving, or celebrating). The allure of the smart contact lens is the quietly pressing proposition that communication models such as these will be radically transformed because they will have to be adapted to use with the human eye, as the method of input and output of information. Focusing on genetic engineering, Eugene Thacker fittingly defines biomedia as “entail[ing] the informatic recontextualization of biological components and processes, for ends that may be medical or nonmedical (economic, technical) and with effects that are as much cultural, social, and political as they are scientific” (123). He specifies, “biomedia are not computers that simply work on or manipulate biological compounds. Rather, the aim is to provide the right conditions, such that biological life is able to demonstrate or express itself in a particular way” (123). Smart contact lenses sit on the cusp of emergence as a biomedia device that will enable us to decode bodily processes in significant new ways. The bold, technical discourse that announces it however, has not yet begun to attend to the seemingly dramatic “cultural, social, and political” effects percolating under the surface. Through technogenesis, media acclimatizes rapidly to change without establishing a logic of the consequences, nor a design plan for emergence. Following from this, we should mention issues such as the intrusion of surveillance algorithms deployed by corporations, governments, and other hegemonic entities that this invention risks. If smart contact lenses are biomedia devices inspiring us to decode bodily processes and communicate that data for analysis, for ourselves, and others in our trust (e.g., doctors, family, friends), we also need to be wary of them. David Lyon warns: Surveillance has spilled out of its old nation-state containers to become a feature of everyday life, at work, at home, at play, on the move. So far from the single all-seeing eye of Big Brother, myriad agencies now trace and track mundane activities for a plethora of purposes. Abstract data, now including video, biometric, and genetic as well as computerized administrative files, are manipulated to produce profiles and risk categories in a liquid, networked system. The point is to plan, predict, and prevent by classifying and assessing those profiles and risks. (13) In simple terms, the smart contact lens might disclose the most intimate information we possess and leave us vulnerable to profiling, tracking, and theft. Irma van der Ploeg presupposed this predicament when she wrote: “The capacity of certain technologies to change the boundary, not just between what is public and private information but, on top of that, between what is inside and outside the human body, appears to leave our normative concepts wanting” (71). The smart contact lens, with its implied motive to encode and disclose internal bodily information, needs considerations on many levels. Conclusion The smart contact lens has made a digital beginning. We accept it through the mass consumption of the idea, which acts as a rhetorical motivator for media adoption, taking place long before the device materializes in the marketplace. This occurrence may also be a sign of our “posthuman predicament” (Braidotti). We have argued that the smart contact lens concept reveals our posthuman adaptation to media rather than our reasoned acceptance or agreement with it as a logical proposition. By the time we actually squabble over the price, express fears for our privacy, and buy them, smart contact lenses will long be part of our everyday culture. References Baumlin, James S., and Tita F. Baumlin. “On the Psychology of the Pisteis: Mapping the Terrains of Mind and Rhetoric.” Ethos: New Essays in Rhetorical and Critical Theory. Eds. James S. Baumlin and Tita F. Baumlin. Dallas: Southern Methodist University Press, 1994. 91-112. Baumlin, James S., and Tita F. Baumlin, eds. Ethos: New Essays in Rhetorical and Critical Theory. Dallas: Southern Methodist University Press, 1994. Bilton, Nick. “A Rose-Colored View May Come Standard.” The New York Times, 4 Apr. 2012. Braidotti, Rosi. The Posthuman. Cambridge: Polity, 2013. Bukatman, Scott. Terminal Identity: The Virtual Subject in Postmodern Science Fiction. Durham: Duke University Press, 1993. Burke, Kenneth. A Rhetoric of Motives. Berkeley: University of California Press, 1950. Cameron, James, dir. The Terminator. Orion Pictures, 1984. DVD. Cameron, James, dir. Terminator 2: Judgment Day. Artisan Home Entertainment, 2003. DVD. Etherington, Darrell. “Google Patents Tiny Cameras Embedded in Contact Lenses.” TechCrunch, 14 Apr. 2014. Goldman, David. “Google to Make Smart Contact Lenses.” CNN Money 17 Jan. 2014. Haraway, Donna. Simians, Cyborgs and Women: The Reinvention of Nature. London: Free Association Books, 1991. Hayles, N. Katherine. How We Think: Digital Media and Contemporary Technogenesis. Chicago: University of Chicago, 2012. Hyde, Michael. The Ethos of Rhetoric. Columbia: University of South Carolina Press, 2004. Leaver, Tama. Artificial Culture: Identity, Technology, and Bodies. New York: Routledge, 2012. Losh, Elizabeth. Virtualpolitik: An Electronic History of Government Media-Making in a Time of War, Scandal, Disaster, Miscommunication, and Mistakes. Boston: MIT Press. 2009. Lyon, David, ed. Surveillance as Social Sorting: Privacy, Risk and Digital Discrimination. New York: Routledge, 2003. Mac, Ryan. “Amazon Lures Google Glass Creator Following Phone Launch.” Forbes.com, 14 July 2014. McG, dir. Terminator Salvation. Warner Brothers, 2009. DVD. Mostow, Jonathan, dir. Terminator 3: Rise of the Machines. Warner Brothers, 2003. DVD. Parviz, Babak A. “Augmented Reality in a Contact Lens.” IEEE Spectrum, 1 Sep. 2009. Pedersen, Isabel. Ready to Wear: A Rhetoric of Wearable Computers and Reality-Shifting Media. Anderson, South Carolina: Parlor Press, 2013. Pollock, Greg. “What Is Posthumanism by Cary Wolfe (2009).” Rev. of What is Posthumanism?, by Cary Wolfe. Journal for Critical Animal Studies 9.1/2 (2011): 235-241. Sidwell, Marc. “The Long View: Bill Gates Is Gone and the Dot-com Era Is Over: It's Only the End of the Beginning.” City A.M., 7 Feb. 2014. “Solve for X: Babak Parviz on Building Microsystems on the Eye.” YouTube, 7 Feb. 2012. Taylor, Alan, dir. Terminator: Genisys. Paramount Pictures, 2015. DVD. Thacker, Eugene “Biomedia.” Critical Terms for Media Studies. Eds. W.J.T Mitchell and Mark Hansen, Chicago: Chicago Press, 2010. 117-130. Van der Ploeg, Irma. “Biometrics and the Body as Information.” Surveillance as Social Sorting: Privacy, Risk and Digital Discrimination. Ed. David Lyon. New York: Routledge, 2003. 57-73. Wired Staff. “7 Massive Ideas That Could Change the World.” Wired.com, 17 Jan. 2013.

Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical content, the visual elements of sheet music were important and thus far have been under-acknowledged. Sheet music diffused the imagery connecting ‘country’ to music, to particular landscapes, and masculinities. In the literature on country music much emphasis has been placed on film, radio and television (Tichi; Peterson). Yet, sheet music was for several decades the most common way people bought personal copies of songs they liked and intended to play at home on piano, guitar or ukulele. This was particularly the case in Australia – geographically distant, and rarely included in international tours by American country music stars. Sheet music is thus a rich text to reveal the historical contours of ‘country’. My second and related argument is that that the possibilities for the globalising of ‘country’ were first explored in music. The idea of transnational discourses associated with ‘country’ and ‘rurality’ is relatively new (Cloke et al; Gorman-Murray et al; McCarthy), but in music we see early evidence of a globalising discourse of ‘country’ well ahead of the time period usually analysed. Accordingly, my focus is on the sheet music of country songs in Australia in the first half of the twentieth century and on how visual representations hybridised travelling themes to create a new vernacular ‘country’ in Australia. Creating ‘Country’ Music Country music, as its name suggests, is perceived as the music of rural areas, “defined in contrast to metropolitan norms” (Smith 301). However, the ‘naturalness’ of associations between country music and rurality belies a history of urban capitalism and the refinement of deliberate methods of marketing music through associated visual imagery. Early groups wore suits and dressed for urban audiences – but then altered appearances later, on the insistence of urban record companies, to emphasise rurality and cowboy heritage. Post-1950, ‘country’ came to replace ‘folk’ music as a marketing label, as the latter was considered to have too many communistic references (Hemphill 5), and the ethnic mixing of earlier folk styles was conveniently forgotten in the marketing of ‘country’ music as distinct from African American ‘race’ and ‘r and b’ music. Now an industry of its own with multinational headquarters in Nashville, country music is a ‘cash cow’ for entertainment corporations, with lower average production costs, considerable profit margins, and marketing advantages that stem from tropes of working class identity and ‘rural’ honesty (see Lewis; Arango). Another of country music’s associations is with American geography – and an imagined heartland in the colonial frontier of the American West. Slippages between ‘country’ and ‘western’ in music, film and dress enhance this. But historical fictions are masked: ‘purists’ argue that western dress and music have nothing to do with ‘country’ (see truewesternmusic.com), while recognition of the Spanish-Mexican, Native American and Hawaiian origins of ‘cowboy’ mythology is meagre (George-Warren and Freedman). Similarly, the highly international diffusion and adaptation of country music as it rose to prominence in the 1940s is frequently downplayed (Connell and Gibson), as are the destructive elements of colonialism and dispossession of indigenous peoples in frontier America (though Johnny Cash’s 1964 album The Ballads Of The American Indian: Bitter Tears was an exception). Adding to the above is the way ‘country’ operates discursively in music as a means to construct particular masculinities. Again, linked to rural imagery and the American frontier, the dominant masculinity is of rugged men wrestling nature, negotiating hardships and the pressures of family life. Country music valorises ‘heroic masculinities’ (Holt and Thompson), with echoes of earlier cowboy identities reverberating into contemporary performance through dress style, lyrical content and marketing imagery. The men of country music mythology live an isolated existence, working hard to earn an income for dependent families. Their music speaks to the triumph of hard work, honest values (meaning in this context a musical style, and lyrical concerns that are ‘down to earth’, ‘straightforward’ and ‘without pretence’) and physical strength, in spite of neglect from national governments and uncaring urban leaders. Country music has often come to be associated with conservative politics, heteronormativity, and whiteness (Gibson and Davidson), echoing the wider politics of ‘country’ – it is no coincidence, for example, that the slogan for the 2008 Republican National Convention in America was ‘country first’. And yet, throughout its history, country music has also enabled more diverse gender performances to emerge – from those emphasising (or bemoaning) domesticity; assertive femininity; creative negotiation of ‘country’ norms by gay men; and ‘alternative’ culture (captured in the marketing tag, ‘alt.country’); to those acknowledging white male victimhood, criminality (‘the outlaw’), vulnerability and cruelty (see Johnson; McCusker and Pecknold; Saucier). Despite dominant tropes of ‘honesty’, country music is far from transparent, standing for certain values and identities, and yet enabling the construction of diverse and contradictory others. Historical analysis is therefore required to trace the emergence of ‘country’ in music, as it travelled beyond America. A Note on Sheet Music as Media Source Sheet music was one of the main modes of distribution of music from the 1930s through to the 1950s – a formative period in which an eclectic group of otherwise distinct ‘hillbilly’ and ‘folk’ styles moved into a single genre identity, and after which vinyl singles and LP records with picture covers dominated. Sheet music was prevalent in everyday life: beyond radio, a hit song was one that was widely purchased as sheet music, while pianos and sheet music collections (stored in a piece of furniture called a ‘music canterbury’) in family homes were commonplace. Sheet music is in many respects preferable to recorded music as a form of evidence for historical analysis of country music. Picture LP covers did not arrive until the late 1950s (by which time rock and roll had surpassed country music). Until then, 78 rpm shellac discs, the main form of pre-recorded music, featured generic brown paper sleeves from the individual record companies, or city retail stores. Also, while radio was clearly central to the consumption of music in this period, it obviously also lacked the pictorial element that sheet music could provide. Sheet music bridged the music and printing industries – the latter already well-equipped with colour printing, graphic design and marketing tools. Sheet music was often literally crammed with information, providing the researcher with musical notation, lyrics, cover art and embedded advertisements – aural and visual texts combined. These multiple dimensions of sheet music proved useful here, for clues to the context of the music/media industries and geography of distribution (for instance, in addresses for publishers and sheet music retail shops). Moreover, most sheet music of the time used rich, sometimes exaggerated, images to convince passing shoppers to buy songs that they had possibly never heard. As sheet music required caricature rather than detail or historical accuracy, it enabled fantasy without distraction. In terms of representations of ‘country’, then, sheet music is perhaps even more evocative than film or television. Hundreds of sheet music items were collected for this research over several years, through deliberate searching (for instance, in library archives and specialist sheet music stores) and with some serendipity (for instance, when buying second hand sheet music in charity shops or garage sales). The collected material is probably not representative of all music available at the time – it is as much a specialised personal collection as a comprehensive survey. However, at least some material from all the major Australian country music performers of the time were found, and the resulting collection appears to be several times larger than that held currently by the National Library of Australia (from which some entries were sourced). All examples here are of songs written by, or cover art designed for Australian country music performers. For brevity’s sake, the following analysis of the sheet music follows a crudely chronological framework. Country Music in Australia Before ‘Country’ Country music did not ‘arrive’ in Australia from America as a fully-finished genre category; nor was Australia at the time without rural mythology or its own folk music traditions. Associations between Australian national identity, rurality and popular culture were entrenched in a period of intense creativity and renewed national pride in the decades prior to and after Federation in 1901. This period saw an outpouring of art, poetry, music and writing in new nationalist idiom, rooted in ‘the bush’ (though drawing heavily on Celtic expressions), and celebrating themes of mateship, rural adversity and ‘battlers’. By the turn of the twentieth century, such myths, invoked through memory and nostalgia, had already been popularised. Australia had a fully-established system of colonies, capital cities and state governments, and was highly urbanised. Yet the poetry, folk music and art, invariably set in rural locales, looked back to the early 1800s, romanticising bush characters and frontier events. The ‘bush ballad’ was a central and recurring motif, one that commentators have argued was distinctly, and essentially ‘Australian’ (Watson; Smith). Sheet music from this early period reflects the nationalistic, bush-orientated popular culture of the time: iconic Australian fauna and flora are prominent, and Australian folk culture is emphasised as ‘native’ (being the first era of cultural expressions from Australian-born residents). Pioneer life and achievements are celebrated. ‘Along the road to Gundagai’, for instance, was about an iconic Australian country town and depicted sheep droving along rustic trails with overhanging eucalypts. Male figures are either absent, or are depicted in situ as lone drovers in the archetypal ‘shepherd’ image, behind their flocks of sheep (Figure 1). Figure 1: No. 1 Magpie Ballads – The Pioneer (c1900) and Along the road to Gundagai (1923). Further colonial ruralities developed in Australia from the 1910s to 1940s, when agrarian values grew in the promotion of Australian agricultural exports. Australia ‘rode on the sheep’s back’ to industrialisation, and governments promoted rural development and inland migration. It was a period in which rural lifestyles were seen as superior to those in the crowded inner city, and government strategies sought to create a landed proletariat through post-war land settlement and farm allotment schemes. National security was said to rely on populating the inland with those of European descent, developing rural industries, and breeding a healthier and yet compliant population (Dufty), from which armies of war-ready men could be recruited in times of conflict. Popular culture served these national interests, and thus during these decades, when ‘hillbilly’ and other North American music forms were imported, they were transformed, adapted and reworked (as in other places such as Canada – see Lehr). There were definite parallels in the frontier narratives of the United States (Whiteoak), and several local adaptations followed: Tex Morton became Australia’s ‘Yodelling boundary rider’ and Gordon Parsons became ‘Australia’s yodelling bushman’. American songs were re-recorded and performed, and new original songs written with Australian lyrics, titles and themes. Visual imagery in sheet music built upon earlier folk/bush frontier themes to re-cast Australian pastoralism in a more settled, modernist and nationalist aesthetic; farms were places for the production of a robust nation. Where male figures were present on sheet music covers in the early twentieth century, they became more prominent in this period, and wore Akubras (Figure 2). The lyrics to John Ashe’s Growin’ the Golden Fleece (1952) exemplify this mix of Australian frontier imagery, new pastoralist/nationalist rhetoric, and the importation of American cowboy masculinity: Go west and take up sheep, man, North Queensland is the shot But if you don’t get rich, man, you’re sure to get dry rot Oh! Growin’ the golden fleece, battlin’ a-way out west Is bound to break your flamin’ heart, or else expand your chest… We westerners are handy, we can’t afford to crack Not while the whole darn’d country is riding on our back Figure 2: Eric Tutin’s Shearers’ Jamboree (1946). As in America, country music struck a chord because it emerged “at a point in history when the project of the creation and settlement of a new society was underway but had been neither completed nor abandoned” (Dyer 33). Governments pressed on with the colonial project of inland expansion in Australia, despite the theft of indigenous country this entailed, and popular culture such as music became a means to normalise and naturalise the process. Again, mutations of American western imagery, and particular iconic male figures were important, as in Roy Darling’s (1945) Overlander Trail (Figure 3): Wagon wheels are rolling on, and the days seem mighty long Clouds of heat-dust in the air, bawling cattle everywhere They’re on the overlander trail Where only sheer determination will prevail Men of Aussie with a job to do, they’ll stick and drive the cattle through And though they sweat they know they surely must Keep on the trail that winds a-head thro’ heat and dust All sons of Aussie and they will not fail. Sheet music depicted silhouetted men in cowboy hats on horses (either riding solo or in small groups), riding into sunsets or before looming mountain ranges. Music – an important part of popular culture in the 1940s – furthered the colonial project of invading, securing and transforming the Australian interior by normalising its agendas and providing it with heroic male characters, stirring tales and catchy tunes. Figure 3: ‘Roy Darling’s (1945) Overlander Trail and Smoky Dawson’s The Overlander’s Song (1946). ‘Country Music’ Becomes a (Globalised) Genre Further growth in Australian country music followed waves of popularity in the United States in the 1940s and 1950s, and was heavily influenced by new cross-media publicity opportunities. Radio shows expanded, and western TV shows such as Bonanza and On the Range fuelled a ‘golden age’. Australian performers such as Slim Dusty and Smokey Dawson rose to fame (see Fitzgerald and Hayward) in an era when rural-urban migration peaked. Sheet music reflected the further diffusion and adoption of American visual imagery: where male figures were present on sheet music covers, they became more prominent than before and wore Stetsons. Some were depicted as chiselled-faced but simple men, with plain clothing and square jaws. Others began to more enthusiastically embrace cowboy looks, with bandana neckerchiefs, rawhide waistcoats, embellished and harnessed tall shaft boots, pipe-edged western shirts with wide collars, smile pockets, snap fasteners and shotgun cuffs, and fringed leather jackets (Figure 4). Landscapes altered further too: cacti replaced eucalypts, and iconic ‘western’ imagery of dusty towns, deserts, mesas and buttes appeared (Figure 5). Any semblance of folk music’s appeal to rustic authenticity was jettisoned in favour of showmanship, as cowboy personas were constructed to maximise cinematic appeal. Figure 4: Al Dexter’s Pistol Packin’ Mama (1943) and Reg Lindsay’s (1954) Country and Western Song Album. Figure 5: Tim McNamara’s Hitching Post (1948) and Smoky Dawson’s Golden West Album (1951). Far from slavish mimicry of American culture, however, hybridisations were common. According to Australian music historian Graeme Smith (300): “Australian place names appear, seeking the same mythological resonance that American localisation evoked: hobos became bagmen […] cowboys become boundary riders.” Thus alongside reproductions of the musical notations of American songs by Lefty Frizzel, Roy Carter and Jimmie Rodgers were songs with localised themes by new Australian stars such as Reg Lindsay and Smoky Dawson: My curlyheaded buckaroo, My home way out back, and On the Murray Valley. On the cover of The square dance by the billabong (Figure 6) – the title of which itself was a conjunction of archetypal ‘country’ images from both America and Australia – a background of eucalypts and windmills frames dancers in classic 1940s western (American) garb. In the case of Tex Morton’s Beautiful Queensland (Figure 7), itself mutated from W. Lee O’Daniel’s Beautiful Texas (c1945), the sheet music instructed those playing the music that the ‘names of other states may be substituted for Queensland’. ‘Country’ music had become an established genre, with normative values, standardised images and themes and yet constituted a stylistic formula with enough polysemy to enable local adaptations and variations. Figure 6: The Square dance by the billabong, Vernon Lisle, 1951. Figure 7: Beautiful Queensland, Tex Morton, c1945 source: http://nla.gov.au/nla.mus-vn1793930. Conclusions In country music images of place and masculinity combine. In music, frontier landscapes are populated by rugged men living ‘on the range’ in neo-colonial attempts to tame the land and convert it to productive uses. This article has considered only one media – sheet music – in only one country (Australia) and in only one time period (1900-1950s). There is much more to say than was possible here about country music, place and gender – particularly recently, since ‘country’ has fragmented into several niches, and marketing of country music via cable television and the internet has ensued (see McCusker and Pecknold). My purpose here has been instead to explore the early origins of ‘country’ mythology in popular culture, through a media source rarely analysed. Images associated with ‘country’ travelled internationally via sheet music, immensely popular in the 1930s and 1940s before the advent of television. The visual elements of sheet music contributed to the popularisation and standardisation of genre expectations and appearances, and yet these too travelled and were adapted and varied in places like Australia which had their own colonial histories and folk music heritages. Evidenced here is how combinations of geographical and gender imagery embraced imported American cowboy imagery and adapted it to local markets and concerns. Australia saw itself as a modern rural utopia with export aspirations and a desire to secure permanence through taming and populating its inland. Sheet music reflected all this. So too, sheet music reveals the historical contours of ‘country’ as a transnational discourse – and the extent to which ‘country’ brought with it a clearly defined set of normative values, a somewhat exaggerated cowboy masculinity, and a remarkable capacity to be moulded to local circumstances. Well before later and more supposedly ‘global’ media such as the internet and television, the humble printed sheet of notated music was steadily shaping ‘country’ imagery, and an emergent international geography of cultural flows. References Arango, Tim. “Cashville USA.” Fortune, Jan 29, 2007. Sept 3, 2008, http://money.cnn.com/magazines/fortune/fortune_archive/2007/01/22/8397980/index.htm. Cloke, Paul, Marsden, Terry and Mooney, Patrick, eds. Handbook of Rural Studies, London: Sage, 2006. Connell, John and Gibson, Chris. Sound Tracks: Popular Music, Identity and Place, London: Routledge, 2003. Dufty, Rae. Rethinking the politics of distribution: the geographies and governmentalities of housing assistance in rural New South Wales, Australia, PhD thesis, UNSW, 2008. Dyer, Richard. White: Essays on Race and Culture, London: Routledge, 1997. George-Warren, Holly and Freedman, Michelle. How the West was Worn: a History of Western Wear, New York: Abrams, 2000. Fitzgerald, Jon and Hayward, Phil. “At the confluence: Slim Dusty and Australian country music.” Outback and Urban: Australian Country Music. Ed. Phil Hayward. Gympie: Australian Institute of Country Music Press, 2003. 29-54. Gibson, Chris and Davidson, Deborah. “Tamworth, Australia’s ‘country music capital’: place marketing, rural narratives and resident reactions.” Journal of Rural Studies 20 (2004): 387-404. Gorman-Murray, Andrew, Darian-Smith, Kate and Gibson, Chris. “Scaling the rural: reflections on rural cultural studies.” Australian Humanities Review 45 (2008): in press. Hemphill, Paul. The Nashville Sound: Bright Lights and Country Music, New York: Simon and Schuster, 1970. Holt, Douglas B. and Thompson, Craig J. “Man-of-action heroes: the pursuit of heroic masculinity in everyday consumption.” Journal of Consumer Research 31 (2004). Johnson, Corey W. “‘The first step is the two-step’: hegemonic masculinity and dancing in a country western gay bar.” International Journal of Qualitative Studies in Education 18 (2004): 445-464. Lehr, John C. “‘Texas (When I die)’: national identity and images of place in Canadian country music broadcasts.” The Canadian Geographer 27 (1983): 361-370. Lewis, George H. “Lap dancer or hillbilly deluxe? The cultural construction of modern country music.” Journal of Popular Culture, 31 (1997): 163-173. McCarthy, James. “Rural geography: globalizing the countryside.” Progress in Human Geography 32 (2008): 132-137. McCusker, Kristine M. and Pecknold, Diane. Eds. A Boy Named Sue: Gender and Country Music. UP of Mississippi, 2004. Peterson, Richard A. Creating Country Music: Fabricating Authenticity. Chicago: U of Chicago P, 1997. Saucier, Karen A. “Healers and heartbreakers: images of women and men in country music.” Journal of Popular Culture 20 (1986): 147-166. Smith, Graeme. “Australian country music and the hillbilly yodel.” Popular Music 13 (1994): 297-311. Tichi, Cecelia. Readin’ Country Music. Durham: Duke UP, 1998. truewesternmusic.com “True western music.”, Sept 3, 2008, http://truewesternmusic.com/. Watson, Eric. Country Music in Australia. Sydney: Rodeo Publications, 1984. Whiteoak, John. “Two frontiers: early cowboy music and Australian popular culture.” Outback and Urban: Australian Country Music. Ed. P. Hayward. Gympie: AICMP: 2003. 1-28.

We take as our subject what many would deem a waste of good celluloid: the degraded cultural form of the stoner film. Stoner films plot the experiences of the wasted (those intoxicated on marijuana) as they exhibit wastefulness—excessiveness, improvidence, decay—on a number of fronts. Stoners waste time in constantly hunting for pot and in failing to pursue more productive activity whilst wasted. Stoners waste their minds, both literally, if we believe contested studies that indicate marijuana smoking kills brains cells, and figuratively, in rendering themselves cognitively impaired. Stoners waste their bodies through the dangerous practice of smoking and through the tendency toward physical inertia. Stoners waste money on marijuana firstly, but also on such sophomoric accoutrements as the stoner film itself. Stoners lay waste to convention in excessively seeking pleasure and in dressing and acting outrageously. And stoners, if the scatological humour of so many stoner films is any index, are preoccupied with bodily waste. Stoners, we argue here, waste whiteness as well. As the likes of Jesse and Chester (Dude, Where’s My Car?), Wayne and Garth (Wayne’s World), Bill and Ted (Bill and Ted’s Excellent Adventure) and Jay and Silent Bob (Jay and Silent Bob Strike Back) make clear, whiteness looms large in stoner films. Yet the genre, we argue, disavows its own whiteness, in favour of a post-white hybridity that lavishly squanders white privilege. For all its focus on whiteness, filmic wastedness has always been an ethnically diverse and ambiguous category. The genre’s origins in the work of Cheech Marin, a Chicano, and Tommy Chong, a Chinese-European Canadian, have been buttressed in this regard by many African American contributions to the stoner oeuvre, including How High, Half Baked and Friday, as well as by Harold and Kumar Go to White Castle, and its Korean-American and Indian-American protagonists. Cheech and Chong initiated the genre with the release of Up in Smoke in 1978. A host of films have followed featuring protagonists who spend much of their time smoking and seeking marijuana (or—in the case of stoner films such as Dude, Where’s My Car? released during the height of the War on Drugs—acting stoned without ever being seen to get stoned). Inspired in part by the 1938 anti-marijuana film Reefer Madness, and the unintended humour such propaganda films begat amongst marijuana smokers, stoner films are comedies that satirise both marijuana culture and its prohibition. Self-consciously slapstick, the stoner genre excludes more serious films about drugs, from Easy Rider to Shaft, as well as films such as The Wizard of Oz, Yellow Submarine, the Muppet movies, and others popular amongst marijuana smokers because of surreal content. Likewise, a host of films that include secondary stoner characters, such as Jeff Spicoli in Fast Times at Ridgemont High and Wooderson in Dazed and Confused, are commonly excluded from the genre on the grounds that the stoner film, first and foremost, celebrates stonerism, that is “serious commitment to smoking and acquiring marijuana as a lifestyle choice.” (Meltzer). Often taking the form of the “buddy film,” stoner flicks generally feature male leads and frequently exhibit a decidedly masculinist orientation, with women, for the most part reduced to little more than the object of the white male gaze.The plot, such as it is, of the typical stoner film concerns the search for marijuana (or an accessory, such as junk food) and the improbable misadventures that ensue. While frequently represented as resourceful and energetic in their quest for marijuana, filmic stoners otherwise exhibit ambivalent attitudes toward enterprise that involves significant effort. Typically represented as happy and peaceable, filmic stoners rarely engage in conflict beyond regular clashes with authority figures determined to enforce anti-drug laws, and other measures that stoners take to be infringements upon happiness. While Hollywood’s stoners thus share a sense of entitlement to pleasure, they do not otherwise exhibit a coherent ideological orthodoxy beyond a certain libertarian and relativistic open-mindedness. More likely to take inspiration from comic book heroes than Aldous Huxley or Timothy Leary, stoners are most often portrayed as ‘dazed and confused,’ and could be said to waste the intellectual tradition of mind expansion that Leary represents. That stoner films are, at times, misunderstood to be quintessentially white is hardly suprising. As a social construct that creates, maintains and legitimates white domination, whiteness manifests, as one of its most defining features, an ability to swallow up difference and to insist upon, at critical junctures, a universal subjectivity that disallows for difference (hooks 167). Such universalising not only sanctions co-optation of ethnic cultural expression, it also functions to mask whiteness’s existence, thus reinforcing its very power. Whiteness, as Richard Dyer argues, is simultaneously everywhere and nowhere. It obfuscates itself and its relationship to the particular traits it is said to embody—disinterest, prudence, temperance, rationality, bodily restraint, industriousness (3). Whiteness is thus constructed as neither an ethnic nor racial particularity, but rather the transcendence of such positionality (Wiegman 139). While non-whites are raced, to be white is to be “just human” and thus to possess the power to “claim to speak for the commonality of humanity” whilst denying the accrual of any particular racial privilege (Dyer 2). In refuting its own advantages—which are so wide ranging (from preferential treatment in housing loans, to the freedom to fail without fear of reflecting badly on other whites) that they are, like whiteness itself, both assumed and unproblematic—whiteness instantiates individualism, allowing whites to believe that their successes are in no way the outcome of systematic racial advantage, but rather the product of individual toil (McIntosh; Lipsitz). An examination of the 1978 stoner film Up in Smoke suggests that whatever the ethnic ambiguity of the figure of the stoner, the genre of the stoner film is all about the wasting of whiteness. Up in Smoke opens with two alternating domestic scenes. We first encounter Pedro De Pacas (Cheech Marin) in a cluttered and shadowy room as his siblings romp affectionately upon his back, waking him from his slumber on the couch. Pedro rises, stepping into a bowl of cereal on the floor. He stumbles to the bathroom, where, sleepy and disoriented, he urinates into the laundry hamper. The chaos of Pedro’s disrupted sleep is followed in the film by a more metaphoric awakening as Anthony Stoner (Tommy Chong) determines to leave home. The scene takes place in a far more orderly, light and lavish room. The space’s overpowering whiteness is breached only by the figure of Anthony and his unruly black hair, bushy black beard, and loud Hawaiian shirt, which vibrates with colour against the white walls, white furnishings and white curtains. We watch as Anthony, behind an elaborate bar, prepares a banana protein shake, impassively ignoring his parents, both clothed in all-white, as they clutch martini glasses and berate their son for his lack of ambition. Arnold Stoner [father]: Son, your mother and me would like for you to cozy up to the Finkelstein boy. He's a bright kid, and, uh... he's going to military school, and remember, he was an Eagle Scout. Tempest Stoner [mother]: Arnold…Arnold Stoner: [shouts over/to his wife] Will you shut up? We’re not going to have a family brawl!Tempest Stoner: [continues talking as her husband shouts]…. Retard.Arnold Stoner: [to Anthony] We've put up with a hell of a lot.[Anthony starts blender] Can this wait? ... Build your goddamn muscles, huh? You know, you could build your muscles picking strawberries.You know, bend and scoop... like the Mexicans. Shit, maybe I could get you a job with United Fruit. I got a buddy with United Fruit. ... Get you started. Start with strawberries, you might work your way up to these goddamn bananas! When, boy? When...are you going to get your act together?Anthony: [Burps]Tempest Stoner: Gross.Arnold Stoner: Oh, good God Almighty me. I think he's the Antichrist. Anthony, I want to talk to you. [Anthony gathers his smoothie supplements and begins to walk out of the room.] Now, listen! Don't walk away from me when I'm talking to you! You get a goddamn job before sundown, or we're shipping you off to military school with that goddamn Finkelstein shit kid! Son of a bitch!The whiteness of Anthony’s parents is signified so pervasively and so strikingly in this scene—in their improbable white outfits and in the room’s insufferably white décor—that we come to understand it as causative. The rage and racism of Mr. Stoner’s tirade, the scene suggests, is a product of whiteness itself. Given that whiteness achieves and maintains its domination via both ubiquity and invisibility, what Up in Smoke accomplishes in this scene is notable. Arnold Stoner’s tortured syntax (“that goddamn Finkelstein shit kid”) works to “mak[e] whiteness strange” (Dyer 4), while the scene’s exaggerated staging delineates whiteness as “a particular – even peculiar – identity, rather than a presumed norm” (Roediger, Colored White 21). The belligerence of the senior Stoners toward not only their son and each other, but the world at large, in turn, functions to render whiteness intrinsically ruthless and destructive. Anthony’s parents, in all their whiteness, enact David Roediger’s assertion that “it is not merely that ‘Whiteness’s is oppressive and false; it is that ‘Whiteness’s is nothing but oppressive and false” (Toward the Abolition 13).Anthony speaks not a word during the scene. He communicates only by belching and giving his parents the finger as he leaves the room and the home. This departure is significant in that it marks the moment when Anthony, hereafter known only as “Man,” flees the world of whiteness. He winds up taking refuge in the multi-hued world of stonerism, as embodied in the scene that follows, which features Pedro emerging from his home to interact with his Chicano neighbours and to lovingly inspect his car. As a lowrider, a customised vehicle that “begin[s] with the abandoned materials of one tradition (that of mainstream America), … [and is] … then transformed and recycled . . . into new and fresh objects of art which are distinctly Chicano,” Pedro’s car serves as a symbol of the cultural hybridisation that Man is about to undergo (quoted in Ondine 141).As Man’s muteness in the presence of his parents suggests, his racial status seems tentative from the start. Within the world of whiteness, Man is the subaltern, silenced and denigrated, finding voice only after he befriends Pedro. Even as the film identifies Man as white through his parental lineage, it renders indeterminate its own assertion, destabilising any such fixed or naturalised schema of identity. When Man is first introduced to Pedro’s band as their newest member, James, the band’s African American bass player, looks at Man, dressed in the uniform of the band, and asks: “Hey Pedro, where’s the white dude you said was playing the drums?” Clearly, from James’s point of view, the room contains no white dudes, just stoners. Man’s presumed whiteness becomes one of the film’s countless gags, the provocative ambiguity of the casting of a Chinese-European to play a white part underscored in the film by the equally implausible matter of age. Man, according to the film’s narrative, is a high school student; Chong was forty when the film was released. Like his age, Man’s whiteness is never a good fit. That Man ultimately winds up sleeping on the very couch upon which we first encounter Pedro suggests how radical and final the break with his dubious white past is. The “Mexicans” whom his father would mock as fit only for abject labour are amongst those whom Man comes to consider his closest companions. In departing his parents’ white world, and embracing Pedro’s dilapidated, barrio-based world of wastedness, Man traces the geographies narrated by George Lipsitz in The Possessive Investment in Whiteness. Historically, Lipsitz argues, the development of affluent white space (the suburbs) was made possible by the disintegration of African American, Chicano and other minority neighbourhoods disadvantaged by federal, state, and corporate housing, employment, health care, urban renewal, and education policies that favoured whites over non-whites. In this sense, Man’s flight from his parents’ home is a retreat from whiteness itself, and from the advantages that whiteness conveys. In choosing the ramshackle, non-white world of stonerism, Man performs an act of racial treachery. Whiteness, Lipsitz contends, has “cash value,” and “is invested in, like property, but it is also a means of accumulating property and keeping it from others,” which allows for “intergenerational transfers of inherited wealth that pass on the spoils of discrimination to succeeding generations” (vii-viii). Man’s disavowal of the privileges of whiteness is a reckless refusal to accept this racial birthright. Whiteness is thus wasted upon Man because Man wastes his whiteness. Given the centrality of prudence and restraint to hegemonic constructions of whiteness, Man’s willingness to squander the “valuable asset” that is his white inheritance is especially treasonous (Harris 1713). Man is the prodigal son of whiteness, a profligate who pours down the drain “the wages of whiteness” that his forbearers have spent generations accruing and protecting (Roediger, The Wages of Whiteness). His waste not only offends the core values which whiteness is said to comprise, it also denigrates whiteness itself by illuminating the excess of white privilege, as well as the unarticulated excess of meanings that hover around whiteness to create the illusion of transcendence and infinite variety. Man’s performance, like all bad performances of whiteness, “disrupt[s] implicit understandings of what it means to be white” (Hartigan 46). The spectre of seeing white domination go ‘up in smoke’—via wasting, as opposed to hoarding, white privilege—amounts to racial treason, and helps not only to explicate why whites in the film find stonerism so menacing, but also to explain the paradox of “pot [making] the people who don’t smoke it even more paranoid than the people who do” (Patterson). While Tommy Chong’s droll assertion that "what makes us so dangerous is that we're harmless" ridicules such paranoia, it ultimately fails to account for the politics of subversive squandering of white privilege that characterise the stoner film (“Biographies”). Stoners in Up in Smoke, as in most other stoner films, are marked as non-white, through association with ethnic Others, through their rejection of mainstream ideas about work and achievement, and/or through their lack of bodily restraint in relentlessly seeking pleasure, in dressing outrageously, and in refusing to abide conventional grooming habits. Significantly, the non-white status of the stoner is both voluntary and deliberate. While stonerism embraces its own non-whiteness, its Otherness is not signified, primarily, through racial cross-dressing of the sort Eric Lott detects in Elvis, but rather through race-mixing. Stoner collectivity practices an inclusivity that defies America’s historic practice of racial and ethnic segregation (Lott 248). Stonerism further reveals its unwillingness to abide constrictive American whiteness in a scene in which Pedro and Man, both US-born Americans, are deported. The pair are rounded up along with Pedro’s extended family in a raid initiated when Pedro’s cousin “narcs” on himself to la migra (the Immigration and Naturalization Service) in order to get free transport for his extended family to his wedding in Tijuana. Pedro and Man return to the US as unwitting tricksters, bringing back to the US more marijuana than has ever crossed the Mexican-US border at one time, fusing the relationship between transnationalism and wastedness. The disrespect that stoners exhibit for pregnable US borders contests presumed Chicano powerlessness in the face of white force and further affronts whiteness, which historically has mobilised itself most virulently at the threat of alien incursion. Transgression here is wilful and playful; stoners intend to offend normative values and taste through their actions, their dress, and non-white associations as part of the project of forging a new hybridised, transnational subjectivity that threatens to lay waste to whiteness’s purity and privilege. Stoners invite the scrutiny of white authority with their outrageous attire and ethnically diverse composition, turning the “inevitability of surveillance” (Borrie 87) into an opportunity to enact their own wastedness—their wasted privilege, their wasted youth, their wasted potential—before a gaze that is ultimately confounded and threatened by the chaotic hybridity with which it is faced (Hebdige 26). By perpetually displaying his/her wasted Otherness, the stoner makes of him/herself a “freak,” a label cops use derisively throughout Up in Smoke to denote the wasted without realising that stoners define themselves in precisely such terms, and, by doing so, obstruct whiteness’s assertion of universal subjectivity. Pedro’s cousin Strawberry (Tom Skerritt), a pot dealer, enacts freakishness by exhibiting a large facial birthmark and by suffering from Vietnam-induced Post Traumatic Stress disorder. A freak in every sense of the word, Strawberry is denied white status by virtue of physical and mental defect. But Strawberry, as a stoner, ultimately wants whiteness even less than it wants him. The defects that deny him membership in the exclusive “club” that is whiteness prove less significant than the choice he makes to defect from the ranks of whiteness and join with Man in the decision to waste his whiteness wantonly (“Editorial”). Stoner masculinity is represented as similarly freakish and defective. While white authority forcefully frustrates the attempts of Pedro and Man to “score” marijuana, the duo’s efforts to “score” sexually are thwarted by their own in/action. More often than not, wastedness produces impotence in Up in Smoke, either literally or figuratively, wherein the confusion and misadventures that attend pot-smoking interrupt foreplay. The film’s only ostensible sex scene is unconsummated, a wasted opportunity for whiteness to reproduce itself when Man sleeps through his girlfriend’s frenzied discussion of sex. During the course of Up in Smoke, Man dresses as a woman while hitchhiking, Pedro mistakes Man for a woman, Man sits on Pedro’s lap when they scramble to change seats whilst being pulled over by the police, Man suggests that Pedro has a “small dick,” Pedro reports liking “manly breasts,” and Pedro—unable to urinate in the presence of Sgt. Stedenko—tells his penis that if it does not perform, he will “put [it] back in the closet.” Such attenuations of the lead characters’ masculinity climax in the penultimate scene, in which Pedro, backed by his band, performs “Earache My Eye,” a song he has just composed backstage, whilst adorned in pink tutu, garter belt, tassle pasties, sequined opera mask and Mickey Mouse ears: My momma talkin’ to me tryin’ to tell me how to liveBut I don't listen to her cause my head is like a sieveMy daddy he disowned me cause I wear my sister's clothesHe caught me in the bathroom with a pair of pantyhoseMy basketball coach he done kicked me off the teamFor wearing high heeled sneakers and acting like a queen“Earache My Eye” corroborates the Othered natured of stonerism by marking stoners, already designated as non-white, as non-straight. In a classic iteration of a bad gender performance, the scene rejects both whiteness and its hegemonic partners-in-crime, heterosexuality and normative masculinity (Butler 26). Here stoners waste not only their whiteness, but also their white masculinity. Whiteness, and its dependence upon “intersection … [with] interlocking axes [of power such as] gender … [and] sexuality,” is “outed” in this scene (Shome 368). So, too, is it enfeebled. In rendering masculinity freakish and defective, the film threatens whiteness at its core. For if whiteness can not depend upon normative masculinity for its reproduction, then, like Man’s racial birthright, it is wasted. The stoner’s embodiment of freakishness further works to emphasise wasted whiteness by exposing just how hysterical whiteness’s defense of its own normativity can be. Up in Smoke frequently inflates not only the effects of marijuana, but also the eccentricities of those who smoke it, a strategy which means that much of the film’s humour turns on satirising hegemonic stereotypes of marijuana smokers. Equally, Cheech Marin’s exaggerated “slapstick, one-dimensional [portrayal] of [a] Chicano character” works to render ridiculous the very stereotypes his character incarnates (List 183). While the film deconstructs processes of social construction, it also makes extensive use of counter-stereotyping in its depictions of characters marked as white. The result is that whiteness’s “illusion of [its] own infinite variety” is contested and the lie of whiteness as non-raced is exposed, helping to explain the stoner’s decision to waste his/her whiteness (Dyer 12; 2). In Up in Smoke whiteness is the colour of straightness. Straights, who are willing neither to smoke pot nor to tolerate the smoking of pot by others/Others, are so comprehensively marked as white in the film that whiteness and straightness become isomorphic. As a result, the same stereotypes are mobilised in representing whiteness and straightness: incompetence, belligerence, hypocrisy, meanspiritedness, and paranoia, qualities that are all the more oppressive because virtually all whites/straights in the film occupy positions of authority. Anthony’s spectacularly white parents, as we have seen, are bigoted and dominating. Their whiteness is further impugned by alcohol, which fuels Mr. Stoner’s fury and Mrs. Stoner’s unintelligibility. That the senior Stoners are drunk before noon works, of course, to expose the hypocrisy of those who would indict marijuana use while ignoring the social damage alcohol can produce. Their inebriation (revealed as chronic in the DVD’s outtake scenes) takes on further significance when it is configured as a decidedly white attribute. Throughout the film, only characters marked as white consume alcohol—most notably, the judge who is discovered to be drinking vodka whist adjudicating drug charges against Pedro and Man—therefore dislodging whiteness’s self-construction as temperate, and suggesting just how wasted whiteness is. While stonerism is represented as pacific, drunkenness is of a piece with white/straight bellicosity. In Up in Smoke, whites/straights crave confrontation and discord, especially the angry, uptight, and vainglorious narcotics cop Sgt. Stedenko (Stacey Keech) who inhabits so many of the film’s counter-stereotypes. While a trio of white cops roughly apprehend and search a carload of innocent nuns in a manner that Man describes as “cold blooded,” Stedenko, unawares in the foreground, gives an interview about his plans for what he hopes will be the biggest border drug bust in US history: “[Reporter:] Do you expect to see any violence here today? [Sgt. Stedenko:] I certainly hope so.” Stedenko’s desire to act violently against stoners echoes mythologies of white regeneration in the Old West, wherein whiteness refurbished itself through violent attacks on Native Americans, whose wasteful cultures failed to make “civilised” use of western lands (Slotkin 565).White aggression is relentlessly depicted in the film, with one important exception: the instance of the stoned straight. Perhaps no other trope is as defining of the genre, as is the scene wherein a straight person accidentally becomes stoned. Up in Smoke offers several examples, most notably the scene in which a motorcycle cop pulls over Pedro and Man as they drive a van belonging to Pedro’s Uncle Chuey. In a plot twist requiring a degree of willing suspension of disbelief that even wasted audiences might find a stretch, the exterior shell of the van, unbeknownst to Pedro and Man, is made entirely of marijuana which has started to smoulder around the exhaust pipe. The cop, who becomes intoxicated whilst walking through the fumes, does not hassle Pedro and Man, as expected, but instead asks for a bite of their hot dog and then departs happily, instructing the duo to “have a nice day.” In declining, or perhaps simply forgetting, to exercise his authority, the cop demonstrates the regenerative potential not of violent whiteness but rather of hybrid wastedness. Marijuana here is transformative, morphing straight consciousness into stoner consciousness and, in the process, discharging all the uptight, mean-spirited, unnecessary, and hence wasteful baggage of whiteness along the way. While such a utopian potential for pot is both upheld and satirised in the film, the scene amounts to far more than an inconsequential generic gag, in that it argues for the disavowal of whiteness via the assumption of the voluntary Otherness that is stonerism. Whiteness, the scene suggests, can be cast off, discarded, wasted and thus surmounted. Whites, for want of a better phrase, simply need to ‘just say no’ to whiteness in order to excrete the brutality that is its necessary affliction and inevitable result. While Up in Smoke laudably offers a powerful refusal to horde the assets of whiteness, the film fails to acknowledge that ‘just saying no’ is, indeed, one of whiteness’s exclusive privileges, since whites and only whites possess the liberty to refuse the advantages whiteness bestows. Non-whites possess no analogical ability to jettison the social constructions to which they are subjected, to refuse the power of dominant classes to define their subjectivity. Neither does the film confront the fact that Man nor any other of Up in Smoke’s white freaks are disallowed from re-embracing their whiteness, and its attendant value, at any time. However inchoate the film’s challenge to racial privilege, Up in Smoke’s celebration of the subversive pleasures of wasting whiteness offers a tentative, if bleary, first step toward ‘the abolition of whiteness.’ Its utopian vision of a post-white hybridised subjectivity, however dazed and confused, is worthy of far more serious contemplation than the film, taken at face value, might seem to suggest. Perhaps Up in Smoke is a stoner film that should also be viewed while sober. ReferencesBill and Ted’s Excellent Adventure. Dir. Stephen Herek. Orion Pictures Corporation, 1989.“Biographies”. 10 June 2010 ‹http://www.cheechandchongfans.com/biography.html›. Borrie, Lee. "Wild Ones: Containment Culture and 1950s Youth Rebellion”. Diss. University of Canterbury, 2007.Butler, Judith. "Critically Queer”. GLQ: A Journal of Lesbian and Gay Studies 1.1 (1993): 17-32.Chavoya, C. Ondine. “Customized Hybrids: The Art of Ruben Ortiz Torres and Lowriding in Southern California”. 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