Artigos de revistas sobre o tema "Inc Lyon Metal Products"

Dark, medium, and light colour frankfurters (no-fat, low-fat, and regular fat level) were evaluated by panellists under incandescent (INC), fluorescent (FL), and metal halide (MH) light sources. INC illumination resulted in a higher colour preference (P < 0.05) for the medium and light products over that of the FL and MH illuminations; no significant difference was seen between FL and MH lighting. The panellists described the medium coloured frankfurters as pink under INC lighting, but more brown under FL and MH illumination. Relative luminance data, collected via a fibre optic probe connected to a photo diode array, demonstrated the reason to be the low red colour seen by the panellists under FL and MH light sources. For the dark colour frankfurters, there was no difference in colour preference scores among the three illumination sources. Key words: Colour, fat, frankfurters, light, meat, sausage, sensory, spectra

When the worlds of bankruptcy and intellectual property licenses converge, licensees are placed in potentially dangerous positions. The seminal case on this issue, Lubrizol Enterprises, Inc. v. Richmond Metal Finishers, Inc., stands for the proposition that when a licensor rejects an intellectual property license as "executory," the licensee no longer has the right to rely on provisions within the agreement with the debtor for continued use of the technology. To countermand the negative effects of Lubrizol, Congress amended the Bankruptcy Code, but intentionally omitted trademarks from the definition of intellectual property. This omission has produced a string of conflicting case law, leaving trademark licensees in a precarious position with few options for recourse. This Note discusses the Intellectual Property Bankruptcy Protection Act and trademark protection specifically, and details the circuit split created by Sunbeam Products, Inc. v. Chicago American Manufacturing. This Note focuses on the implications of the circuit split, and concludes by providing some suggestions for how courts can resolve this issue in the future.

This paper presents the results of obtaining new easily preparing zirconium-containing complex catalytic systems for ethylene copolymerization and their theoretical studies. The synthesized arylimine metal complexes with “grafted” ionic-liquid ligands have been tested in the liquid-phase copolymerization process of ethylene in the aromatic solvents medium. It has been shown that the prepared catalytic systems can be used together with ionic liquids such as [bmim]BF4 and [bmim] HSO4. Using of organoaluminum compounds such as methylaluminiumoxane and (C2H5)2AlCl, these catalytic systems provide the formation of mixtures of the linear PE with high density, different thermodynamic characteristics, molecular mass distribution and crystallinity. It was found that these catalytic systems allow to control the structure and composition of the products obtained. It is known that in organometallic catalysis, ligands within a metal complexes play an important role in the formation of catalytic active centers. The nature of the catalytic centers also has a great influence on preparation of (co)polymers with various structures. Therefore, the choice of ligands is a very important factor for obtaining products with desired properties. The structural parameters of the synthesized catalytic systems were investigated using HyperChem software (version 8, Hypercube Inc.). Activation energy, dipole moment, bond angle, the bond length, the HOMO and LUMO orbitals have been calculated.

This article illustrates that controlling the lubricant spray keeps presses running cleaner and longer in die stamping shops. The MicroCoat system enabled Warwick, Rhode Island-based ETCO Inc.’s Engineered Products division to minimize oil mist in its press room, reduce maintenance downtime, improve the quality of finished parts, and increase the throughput of it. After installing MicroCoat on all 10 of its Bruderer presses, ETCO has increased the number of hits between sharpenings by 50 percent, or 500,000 strokes per press with much less tool damage. The 2.5-inch-high MicroCoat spray valves use low-volume, low-pressure air to apply die stamping lubricant in fine, even films without producing waste, mist, or overspray. The transparent reservoir of the MicroCoat System feeds metered amounts of lubricant to the compact spray valves mounted inside this Bruderer die press between the metal feed stock and the tool.

We have proposed in 1992 that nanoparticles of layered compounds will be unstable against folding and close into fullerene-like structures and nanotubes (IF). Nanotubes and fullerene-like structures were prepared from numerous compounds with layered and recently also non-layered structure by various groups. Much progress has been achieved in the synthesis of inorganic nanotubes and fullerene-like nanoparticles of WS2 and MoS2 and many other metal dichalcogenides over the last few years. Substantial progress has been accomplished in the use of such nanoparticles for tribological applications and lately for impact resilient nanocomposites. These tests indicated that IF-MoS2 and IF-WS2 are heading for large scale applications in the automotive, machining, aerospace, electronics, defense, medical and numerous other kinds of industries. A few products based on these nanoparticles have been recently commercialized by “ApNano Materials, Inc”. Novel applications of inorganic nanotubes and fullerene-like nanoparticles in the fields of catalysis; microelectronics; Li rechargeable batteries; medical and opto-electronics will be discussed.

Recently, several studies have been conducted to investigate the behavior of polymer based composites reinforced with clay particles, which can remarkably improve the properties of the polymers. Studies using transmission electron microscopy (TEM) are necessary to understand the role of clay minerals/particles in the reinforcing effect in the polymer based materials. TEM sample preparation of polymer/clay nanocomposites using conventional techniques has been difficult and tedious. Nevertheless, the focused ion beam (FIB) technique for preparing metal and ceramic samples provides another method for preparing polymer nanocomposite samples. This paper presents a new approach for preparing TEM specimens of the polymer nanocomposites using the FIB technique.Two types of epoxy (Dow Chemical Company, DER 331) nanocomposite samples were investigated: one containing 7.5 wt.% organomontmorillonite clay (Southern Clay Products Inc., Cloisite 30B) and the other (carbon fiber reinforced plastics; CFRP) containing carbon fibers (Hexel Fibers, AS4) in addition to 5 wt. % clay. Details of preparing the epoxy based clay nanocomposites will be published elsewhere. Procedures for preparing TEM thin sections using FIB were based on techniques developed by Ramirez de Arellano et al.

Abstract Impact of 18 F-fluoro-deoxyglucose positron emission tomography (PET) imaging has become increasingly important in recent years in the management of patients with malignant lymphomas and is recommended for the staging and response to treatment assessment of both diffuse large B-cell and Hodgkin's lymphoma. Few data on the relevance of PET in the management of patients with mantle cell lymphoma (MCL) are available so far. Then, we retrospectively investigated the PET value for initial staging, interim response and predicting outcome in patients with MCL treated in two French institutions (Dijon University Hospital and the Centre Leon Berard, Lyon). From 2004 to 2013, a total of 61 de novo MCL patients assessed by PET were included. For each patient, were collected at baseline, the whole body SUVmax site, the presence of a bone marrow (BM) uptake, total metabolic tumour volume (TMTV) and total tumour glycolysis (TLG). The interim PET response after 3 or 4 cycles of induction treatment was assessed using the Deauville score and the quantitative variation of SUV between the baseline PET and the PET performed after 4 cycles of immunochemotherapy (ΔSUV). Patient's median age was 64 years [38 - 84]. At diagnosis, 92% presented a disseminated disease (stage III-IV). Mean MCL International Prognostic Index (MIPI) was 6.09 [5.89 - 6.29]. All patients received a first-line induction treatment. Twenty-eight (46%) received an autologous stem cell transplantation as consolidation treatment and 10 (16%) a rituximab maintenance. The baseline FDG uptake intensity was low (median SUVmax: 6.93 [2.5 - 25]) leading to consider that baseline PET was informative and suitable for a further PET reassessment in 40 (93%) patients. 72% of the patients with an informative baseline PET, had a SUVmax < 10 making the metabolic quantitative analyses (TMTV, TLG, ΔSUV) uninformative. Among the 46 (75%) patients with histologically proven BM involvement, only 14% of them had BM FDG uptake. After 3 to 4 cycles of induction treatment, 27 (75%) patients achieved a negative PET. With a median follow up of 27 months, a shorter PFS was related to a disseminated disease (stage III-IV) on the basis of baseline PET (2y-PFS: 47% vs 80% p = 0.03) and an insufficient interim metabolic response according to the Deauville score (score ≥ 4) (16% vs 64% p<0.01). However, in multivariate analysis, using the MIPI, the stage and the interim PET response as covariates, only a score of Deauville ≥ 4 (p = 0.0018, HR = 32.6 IC 95% [3.7 - 286.82]) and a MIPI>=6 (p = 0.04, HR = 7.1 IC 95% [1.1 - 46]) retained an independent negative impact on PFS. FDG avidity of LCM is usually low. PET underestimates BM involvement at diagnosis in 86 % of patients, compared with cytological and histological techniques, and has no independent prognostic value. The interim metabolic response assessed using the Deauville criteria is a prognosis factor independent from MIPI in patients with MCL. Disclosures Salles: Calistoga Pharmaceuticals, Inc.; Celgene Corporation; Genentech, Inc.; Janssen Pharmaceutica Products, L.P.; Roche: Consultancy; Celgene Corporation; Roche and Gilead Sciences: Research Funding; Celgene Corporation; Roche: Speakers Bureau. Casasnovas:Gilead: Consultancy; Takeda: Consultancy; Roche: Consultancy, Research Funding.

Introduction. The most common failure in using glass fibre-reinforced composite posts is cementation of the post, i.e. the lack of junction between cement dentine or post. Aim of the study. To compare the bond strength between different glass fibre-reinforced composite (FRC) posts and selected composite cement. Materials and Methods. The following seven types of fiber reinforced composite posts (n =10): Fiber Post (GC Europe N.V., Leuven, Belgium), Glassix (Harald Nordin SA, Chailly s/ Montreux, Switzerland), Rebilda®Post (VOCO GmbH, Cuxhaven, Germany), FibreKleer Serrated Post (Pentron Clinical, Wallingford, USA), ParaPost®Fiber Lux (Coltene/Whaledent Inc., Cuyahoga Falls, USA), RelyX (3M Espe Dental Products, St.Paul, USA) oraz X-Post (Dentsply Maillefer Instruments, Ballaigues, Switzerland) were evaluated. Posts were cemented into metal sleeves with dual-cure resin cement CoreXFlow (Dentsply). The bond strength test based on the coaxial method was performed on the samples using Instron 4485 machine (Instron Corporation, Norwood, USA). Results. The significantly higher values of bond strength were demonstrated for Fiber Post (GC Europe N.V., Leuven, Belgium) with 29.57±1.44 MPa, and the lowest were shown by Glassix (Harald Nordin SA, Chailly s/Montreux, Switzerland) with 17.21±0.87 MPa. The differences were significant (p<0.001). Conclusions. 1. The significantly higher values of bond strength were demonstrated for Fiber Post (GC Europe N.V., Leuven, Belgium) and the lowest were shown by Glassix (Harald Nordin SA, Chailly s/Montreux, Switzerland). 2. The resin methacrylic posts had a stronger junction with cement than with epoxy resin posts.

Anthropogenic activities have impacted the planet’s carbon cycle through the emissions of large amounts of greenhouse gases (GHGs), shifting the equilibrium of human history since the industrial revolution. CO2 is the key contributor to global climate change in the atmosphere. For this reason, the synthesis of high-added-value products CO2 conversion is a promising approach to mitigate climate change.1 Among the different alternatives, exploiting CO2 via electrochemical reduction under mild conditions (ambient pressure and temperature) represents an opportunity to support a low-carbon economy.2 The electrocatalytic (EC) CO2 reduction (CO2R) driven by renewable energy can be exploited for the future energy transition, for the carbon storage into valuable products like syngas (H2/CO mixtures), organic acids (formic acid) and chemicals/fuels (C1+ alcohols).3 A big challenge for the industrialisation of this technology is to find low-cost electrocatalysts, efficient reactors and process conditions. In the efforts to develop efficient, selective and stable materials, we have exploited the current knowledge of thermocatalytic CO2 hydrogenation to develop noble-metal-free CO2R electrocatalysts.4 For instance, Cu/Zn/Al synthesised catalyst producing methanol and CO from the CO2 thermocatalytic (TC) hydrogenation (at H2 pressure (P) of 30 bar and temperature (T) > 200 oC) promotes the formation of methanol (⁓32% of FE) during the EC CO2R in a gas-diffusion-electrode system; while operating in the liquid phase, the same catalyst produces syngas with a tunable composition (95% of FE at the most positive applied potential) and other liquid C2+ products (in both cases at ambient T, P).4 On the other hand, Cu/ZnO electrocatalyst also has been tested at industrially relevant current densities in liquid phase configuration.5 We demonstrated through ex-situ characterisations that the presence of ZnO nanoparticles in the mixed Cu/ZnO catalyst plays an important role in forming and stabilising mixed oxidation states of copper and Cu1+/Cu0 interfaces in the electrocatalyst (in bulk and surface). These interfaces seem to promote CO dimerisation to ethanol. Indeed, ethanol was produced with the Cu/ZnO catalyst, reaching ethanol productivity of about 5.3 mmol∙gcat -1∙h-1 in a liquid-phase configuration at ambient conditions. A Cu/ZnO electrocatalyst also has been tested in a catholyte-free configuration with an increased selectivity to ethylene, reaching approximately 70% of FE, demonstrating that the reaction pathways for EC CO2R are largely determined by transport limitations rather than only by the intrinsic properties of the electrocatalysts. Our results open a promising path for the prospective implementation of metal-oxide nanostructures for CO2 conversion to the chemicals and fuels of the future. Acknowledgements This work has received financial support by the EU H2020 Project SunCOChem (grant agreement: 862192). References Guzmán, H., Russo, N. & Hernández, S. CO2 valorisation towards alcohols by Cu-based electrocatalysts: challenges and perspectives. Green Chem. 23, 1896–1920 (2021). Romero Cuellar, N. S., Wiesner-Fleischer, K., Fleischer, M., Rucki, A. & Hinrichsen, O. Advantages of CO over CO2 as reactant for electrochemical reduction to ethylene, ethanol and n-propanol on gas diffusion electrodes at high current densities. Electrochim. Acta 307, 164–175 (2019). Guzmán, H., Farkhondehfal, M. A., Rodulfo Tolod, K., Russo, N. & Hernández, S. Photo/electrocatalytic hydrogen exploitation for CO2 reduction toward solar fuels production. in Solar Hydrogen Production Processes, Systems and Technologies 560 (Elsevier Inc., 2019). doi:10.1016/C2017-0-02289-9. Guzmán, H. et al. How to make sustainable CO2 conversion to Methanol: Thermocatalytic versus electrocatalytic technology. Chem. Eng. J. 417, 127973 (2021). Guzmán, H. et al. CO2 Conversion to Alcohols over Cu/ZnO Catalysts: Prospective Synergies between Electrocatalytic and Thermocatalytic Routes. ACS Appl. Mater. Interfaces 14, 517−530 (2022).

Clostridium difficile is a major nosocomial pathogen responsible for pseudomembranous colitis and many cases of antibiotic-associated diarrhea. Because of potential relapse of disease with current antimicrobial therapy protocols, there is a need for additional and/or alternative antimicrobial agents for the treatment of disease caused by C. difficile. We have synthesized a systematic series of 14 structurally simple bismuth compounds and assessed their biological activities against C. difficile and four other gastrointestinal species, includingHelicobacter pylori. Here, we report on the activities of six compounds that exhibit antibacterial activities againstC. difficile, and some of the compounds have MICs of less than 1 μg/ml. Also tested, for comparison, were the activities of bismuth subcitrate and ranitidine bismuth citrate obtained from commercial sources. C. difficile andH. pylori were more sensitive both to the synthetic bismuth compounds and to the commercial products than were Escherichia coli, Pseudomonas aeruginosa, and Proteus mirabilis, and the last three species were markedly resistant to the commercial bismuth salts. Testing with human foreskin fibroblast cells revealed that some of the synthetic compounds were more cytotoxic than others. Killing curves for C. difficile treated with the more active compounds revealed rapid death, and electron microscopy showed that the bismuth of these compounds was rapidly incorporated by C. difficile. Energy dispersive spectroscopy X-ray microanalysis of C. difficile cells containing electron-dense material confirmed the presence of internalized bismuth. Internalized bismuth was not observed inC. difficile treated with synthetic bismuth compounds that lacked antimicrobial activity, which suggests that the uptake of the metal is required for killing activity. The nature of the carrier would seem to determine whether bismuth is transported into susceptible bacteria like C. difficile.

SUMMARY The purpose of this study was to use shear bond strength (SBS) and shear fatigue limit (SFL) testing to determine the effect of phosphoric acid pre-etching of enamel and dentin prior to application of self-etch adhesives for bonding resin composite to these substrates. Three self-etch adhesives—1) G- ænial Bond (GC Corporation, Tokyo, Japan); 2) OptiBond XTR (Kerr Corp, Orange, CA, USA); and 3) Scotchbond Universal (3M ESPE Dental Products, St Paul, MN, USA)—were used to bond Z100 Restorative resin composite to enamel and dentin surfaces. A stainless-steel metal ring with an inner diameter of 2.4 mm was used to bond the resin composite to flat-ground (4000 grit) tooth surfaces for determination of both SBS and SFL. Fifteen specimens each were used to determine initial SBS to human enamel/dentin, with and without pre-etching with a 35% phosphoric acid (Ultra-Etch, Ultradent Products Inc, South Jordan, UT, USA) for 15 seconds prior to the application of the adhesives. A staircase method of fatigue testing (25 specimens for each test) was then used to determine the SFL of resin composite bonded to enamel/dentin using a frequency of 10 Hz for 50,000 cycles or until failure occurred. A two-way analysis of variance and Tukey post hoc test were used for analysis of SBS data, and a modified t-test with Bonferroni correction was used for the SFL data. Scanning electron microscopy was used to examine the area of the bonded restorative/tooth interface. For all three adhesive systems, phosphoric acid pre-etching of enamel demonstrated significantly higher (p&lt;0.05) SBS and SFL with pre-etching than it did without pre-etching. The SBS and SFL of dentin bonds decreased with phosphoric acid pre-etching. The SBS and SFL of bonds using phosphoric acid prior to application of self-etching adhesives clearly demonstrated different tendencies between enamel and dentin. The effect of using phosphoric acid, prior to the application of the self-etching adhesives, on SBS and SFL was dependent on the adhesive material and tooth substrate and should be carefully considered in clinical situations.

This paper presents a method for assortment–quantity production scheduling in a printing company. The company uses specialized machinery to make prints on clothing. The method is based on a study of the company’s practical operations and the production technologies used. It involves the construction of simulation and optimization models of the process. The simulation models reflect the technical aspects of the production process and the business requirements. Optimization models provide solutions that balance product sales revenue with appropriate production schedules. On this basis, managers can make resource-balanced decisions on the implementation of selected production plans, taking into account the current economic conditions of the company. The experiments used the FlexSim simulation program (by FlexSim Software Products, Inc., Orem, UT 84097 USA; v. 20.1.3.1) and the OptQuest optimization package (embedded in FlexSim), resulting in a cost-effective solution in a short time. The proposed method, thanks to the optimization of the production program, provides savings in the use of materials for production, as well as water and energy savings in the production process. Thanks to the possibility of analyzing the process without interfering with it, provided by simulation modelling, the method practically eliminates the costs and time needed to prepare the execution of new production orders. This contributes to the sustainable development of the company and provides an opportunity to assess the impact of potential business decisions in the company prior to their implementation. The method has been directly applied in a company to improve its performance. The method is scalable and can be applied to problems of varying complexity and production systems of different types and sizes. This is especially true for small- and medium-sized companies that use discrete manufacturing in the textile, metal, and furniture industries.

An increase the operating temperature range of structural elements and aircraft assemblies is one of the main goals in developing advanced and new models of aerospace equipment to improve their technical characteristics. The most heat-loaded aircraft structures, such as a combustion chamber, high-pressure turbine segments, nozzle flaps with a controlled thrust vector, must have a long service life under conditions of high temperatures, an oxidizing environment, fuel combustion products, and variable mechanical and thermal loads. At the same time, modern Ti and Ni-based superalloys have reached the limits of their operating temperatures. The leading world aircraft manufacturers — General Electric (USA), Rolls-Royce High Temperature Composite Inc. (USA), Snecma Propulsion Solide (France) — actively conduct fundamental research in developing ceramic materials with high (1300 – 1600°C) and ultrahigh (2000 – 2500°C) operating temperatures. However, ceramic materials have a number of shortcomings attributed to the high brittleness and low crack resistance of monolithic ceramics. Moreover, manufacturing of complex configuration and large-sized ceramic parts faces serious difficulties. Nowadays, ceramic composite materials with a high-temperature matrix (e.g., based on ZrC-SiC) and reinforcing filler, an inorganic fiber, (e.g., silicon carbide) appeared most promising for operating temperatures above 1200°C and exhibited enhanced energy efficiency. Ceramic fibers based on silicon compounds possess excellent mechanical properties: the tensile strength more than 2 GPa, modulus of elasticity more than 200 GPa, and thermal resistance at a temperature above 800°C, thus making them an essential reinforcing component in metal and ceramic composites. This review is devoted to silicon carbide core fibers obtained by chemical vapor deposition of silicon carbide onto a tungsten or carbon core, which makes it possible to obtain fibers a 100 – 150 μm in diameter to be used in composites with a metal matrix. The coreless SiC-fibers with a diameter of 10 – 20 μm obtained by molding a polymer precursor from a melt and used mainly in ceramic composites are also considered. A comparative analysis of the phase composition, physical and mechanical properties and thermal-oxidative resistance of fibers obtained by different methods is presented. Whiskers (filamentary crystals) are also considered as reinforcing fillers for composite materials along with their properties and methods of production. The prospects of using different fibers and whiskers as reinforcing fillers for composites are discussed.

In this paper, based on the R-functions theory, methods have been developed and equations have been constructed for the 3D printing of hex-head screws with Bristol, Pentalobe, Polydrive and other types of screw slots. Such screws are used both in personal computers and other high-end equipment. The Bristol slot has four or six radial grooved beams. The advantage of the design of this slot is the correct perpendicular, rather than tangential, vector of force application when the slot is rotated by a tool, which minimizes the risk of stripping out the slot. For this reason, the Bristol slot is used in soft metal screws. Compared to the internal hex, the Bristol slot allows a noticeably higher torque, only slightly higher than that of the Torx slot. This type of slot is used in aviation, high-end telecommunications equipment, cameras, air brakes, agricultural equipment, astronomical equipment, and foreign military equipment. Variations with a pin in the center are found in game consoles to prevent the use of a flat-blade screwdriver as an improvised key. The Pentalobe slot is a five-point slot designed by Apple and used in its products to limit unauthorized disassembly. It was first used in mid 2009 to mount MacBook Pro batteries. Its miniature version was used in the iPhone 4 and later models, in the MacBook Air (available since late 2010 models), and the MacBook Pro with Retina screens. The Polydrive slot is a starlike slot with rounded star points, used in the automotive industry for applications requiring high tightening torque. The Torq-set slot is a cross slot for fasteners requiring high tightening torque. The grooves are slightly offset, not intersecting at one point. Fasteners with this type of slot are used in military aviation, for example, in E-3, P-3, F-16, Airbus, Embraer, and Bombardier Inc. The Phillips Screw Company owns the trademark and manufactures fasteners with this type of slot. The slot design standards are National Aerospace Standard NASM 3781 and NASM 4191 for the ribbed version. The resulting equations for the surfaces of screws were checked during the modeling of the screws before 3D printing. The 3D printing technology allows us to reduce the cost and labor intensity of manufacturing products, including complex slot screws. The analytical recording of designed objects makes it possible to use alphabetic geometric parameters, complex superposition of functions, which, in turn, allows us to quickly change their design elements. The positivity property of the constructed functions at the internal points of an object is very convenient for the implementation of 3D printing.

This is the fourth in a series of papers to investigate corrosivity test methods published by the Polyolefins Fire Performance Council, an operating unit of The Society of the Plastics Industry, Inc. In the first paper, 24 polymeric materials were evaluated for smoke corro sivity following the test method proposed by ASTM E05.21.70 which uses a ra diant combustion/exposure apparatus. The second paper discussed the evalua tion of the same materials using the CNET corrosion test method under consideration by ISO TC61/SC4/WG2 and IEC TC89/WG3 and compared the CNET results with the ASTM E05.21.70 results. In the third paper, the 24 poly meric materials were evaluated using a modified DIN acid gas test method and the results were compared to both the previous ASTM E05.21.70 and CNET results. These commercially available polymeric materials cover a broad range of compositions used for wire and cable insulation and jacketing. In this paper, the same polymeric materials were evaluated following the "Fire Response Standard for Determining the Corrosive Effect of Combustion Products Using a Cone Corrosimeter" proposed by ASTM D09.21.04. In this test method, a specimen is subjected to radiant heat at the recommended heat flux using a spark igniter to ignite combustible vapors. A portion of the pro ducts of decomposition or combustion are channeled in a dynamic mode through an exposure chamber in which corrosion targets are placed until the specimen has lost 70% of its total available mass loss. The mass loss is deter mined from previous experiments at the recommended heat flux. When the specimen has lost 70% of its mass loss, the exposure chamber is sealed and iso lated. The corrosion of the target is determined by exposing the target to the now static combustion products for one hour measured from the start of the test. The target is then placed in an environmental chamber at 75% relative humidity at 23°C for 24 hours. The test method measures the increase in elec trical resistance of a metallic circuit. This increase is related to the decrease in conductive cross-sectional area resulting from metal loss due to corrosion. The increase in electrical resistance of each target is determined throughout the test and correlated to its metal loss. The 24 hour corrosion value is reported as metal loss in angstroms. In this study, heat fluxes of 25 and 50 kW/m2 were used to simulate two dif ferent fire scenarios. All of the materials were run at 50 kW/m2 and 12 materials were run at 25 kW/m 2. Two targets, one with a span of 2,500 Å and the second with a span of 45,000 A were used during each test at each heat flux. The results of this study indicate that the measured corrosivity of materials: (1) does not correlate consistent with the expectations based upon the known chemis try of their compositions (2) varies numerically with the heat flux under which the tests are run and on the target used to obtain the corrosion data and (3) although numerically different, loosely ranks the corrosive potentials of the materials in a consistent manner at both heat fluxes and with both targets. The test protocol does not specify either the heat flux or the targets to be used recommending both in the appendix. As corrosion values are numerically de pendent on the conditions and target used to obtain the data, it is questionable how this test method can be used as a standard for determining and comparing the corrosion potentials of materials without requiring that both the specific heat flux and the target be specified in the test protocol as well as be reported with the results. To complete the review of corrosion test methods, a comparison of the corro sive potentials of the 24 materials using the four test methods will be made and one test method recommended for use as a global standard.

Abstract Introduction: Prostate cancer (PCa) is the second leading cause of cancer deaths among men in the United States. Approximately 50% of patients with PCa harbor an oncogenic TMPRRS2- ERG gene fusion in their primary and 35% of patients with metastatic castration resistant prostate cancer that often coincides with defective PTEN. We have identified a small molecule, ERGi-USU, with previously described metal chelator activity that binds to the atypical kinase RIOK2 and selectively inhibits the growth of ERG positive cancer cells in vitro and in vivo. ERGi- USU is also effective in inhibiting the growth of tumorigenic mouse prostate organoids harboring TMPRSS2-ERG in Pten null background. We developed a salt formulated derivative of ERGi-USU with improved tumor growth inhibition activity. The objective of our study is to gain insights into the mechanism of action of parental and new ERGi-USU compounds. Methods: The anti-tumorigenic activities of ERGi-USU, was assessed in the hormone-refractory metastatic tissue derived ERG positive prostate cancer cell line (VCaP) and mouse prostate derived TMPRSS2-ERG/Pten null organoids. We monitored cell cycle proteins and ferroptosis pathways and RIOK2 in response to treatment with ERGi-USU compounds. The normal primary endothelium derived HUVEC cells were used as normal control due to the normal endogenous expression of ERG in endothelial cells. Results: Cell growth of tumorigenic ERG positive mouse prostate organoids were inhibited in response to ERGi-USU treatments. Consistent with the response of VCaP cells the ERG and RIOK2 protein levels were down regulated by ERGi-USU treatment in ERG positive tumorigenic mouse prostate organoids. Altered levels of ferroptosis associated proteins were found indicating the involvement of ferroptosis in the activity of ERGi-USU compounds. Conclusions: Our results showed that ferroptosis, the iron-dependent form of programmed cell- death may be involved in the cancer selective activity of ERGi-USU compounds. Disclaimer: The contents of this publication are the sole responsibility of the author(s) and do not necessarily reflect the views, opinions or policies of Uniformed Services University of the Health Sciences (USUHS), The Henry M. Jackson Foundation for the Advancement of Military Medicine, Inc., the Department of Defense (DoD), the Departments of the Army, Navy, or Air Force. Mention of trade names, commercial products, or organizations does not imply endorsement by the U.S. Government. Citation Format: Binil Eldhose, Katherine Beck, Cyrus Eghtedari, Gartrell C. Bowling, Mallesh Pandrala, Sanjay V. Malhotra, Xiaofeng A. Su, Albert Dobi. ERGi-USU selectively inhibit ERG positive prostate cancer through ATF3 mediated ferroptosis [abstract]. In: Proceedings of the AACR Special Conference: Advances in Prostate Cancer Research; 2023 Mar 15-18; Denver, Colorado. Philadelphia (PA): AACR; Cancer Res 2023;83(11 Suppl):Abstract nr B062.

For carbon-neutral transition, technologies are required which enable the efficient conversion of CO2 into valuable feedstocks for chemicals and fuels (e.g., CO, methane, and ethylene). Electrochemical reduction of CO2 (CO2ER) is one of the most promising pathways due to its high product selectivity as well as high activity at mild temperature and pressure, powered by electricity from renewable sources. Among the CO2 reduction products with high selectivity through CO2ER, CO is a useful feedstock to produce methane, methanol, and olefins through conventional catalytic reactions. It is reported that noble metal CO2ER catalysts such as Au and Ag exhibit high CO selectivity[1]. Toward social implementation of CO2ER technology on a commercial scale, earth-abundant elements are more favorable as a catalyst. In recent years, nitrogen (N)-doped carbon materials have attracted much attention for their high CO selectivity comparable to Au and Ag. Previous studies indicate the N-doped carbon catalysts with high content of pyridinic N show high CO generation activity[2]. However, the specific role of pyridinic N (how N contributes to the activity during CO2ER) is still unclear. To establish a design strategy for the efficient N-doped carbon catalyst, the catalytic mechanism involving the pyridinic N must be clarified. In this study, carbon nanotube (CNT) is selected as a model carbon material whose commercial-scale production methods are relatively advanced among carbon materials. With electrochemical and spectroscopic measurements, the local pH dependence of the CO2ER catalytic performance of N-doped CNT (NCNT) was investigated, and the role of the pyridinic N on the CO2ER activity was discussed. The NCNT was prepared by pyrolysis of 1,10-phenanthroline on a multi-walled carbon nanotube as previously reported[2]. CO generation activity was examined in two types of electrochemical systems; the liquid phase electrolysis using an H-cell with a three-electrode system including 4 cm2 NCNT-loaded glassy carbon as a working electrode, and the gas phase using a polymer electrolyte fuel-cell type reactor including membrane-electrode assembly (MEA) with 5 cm2 active area. In the liquid phase electrolysis with CO2 gas bubbling, NCNT showed high faradaic efficiencies toward CO in 1.0 M KHCO3 electrolyte (pH 7.37), while no CO was detected in 1.0 M KHSO4 (pH 0.55) at any applied potentials. In the case of the gas phase reaction, NCNT loaded on a carbon paper (a gas diffusion electrode) with a Nafion® ionomer (Nafion® DE2020CS, The Chemours Company, Delaware, U.S.) showed poor CO selectivity at any cell voltage in both cases using a proton and an anion exchange membrane, while the ionomer substitution to Sustainion® XA-9 (Dioxide Materials, Inc., Florida, U.S.), an anion exchange type, increased the faradaic efficiency toward CO remarkably. From those results, it was confirmed that the local pH near the catalyst surface affects the CO generation activity of NCNT. The local pH dependence on the CO generation activity could be attributed to the CO2 concentration in the electrolyte as well as the protonation of the pyridinic N of the catalyst as previously reported in the system of O2 electroreduction[3]. To observe changes in the local pH and the chemical state of pyridinic N directly, spectroscopic analyses were conducted. We applied our previously reported in situ surface-enhanced Raman spectroscopy measurement system[4] to this reaction to detect the local pH near NCNT surface in the liquid phase as well as the adsorbate species. Surface X-ray photoelectron spectroscopy was also performed to study the changes in the chemical state of N. Those spectroscopic analyses suggested that the factor which affects the CO2ER activity is not only the difference in dissolved CO2 concentration induced from the less acidic condition but also the change in the pyridinic N state. References [1] P. De Luna, C. Haun, D. Higgins, S. A. Jaffer, T. F. Jaramillo, E. H. Sargent, Science 364, eaav3506 (2019). [2] C. Ma, P. Hou, X. Wang, Z. Wang, W. Li, P. Kang, Appl. Catal. B Environ. 250 347-354 (2019). [3] K. Takeyasu, M. Furukawa, Y. Shimoyama, S. K. Singh, J. Nakamura, Angew. Chem. Int. Ed. 60, 5121 (2021). [4] K. Ide, M. Kunimoto, S. Yoshida, M. Yanagisawa, T. Homma, Electroanalysis (in press). Fig. 1. Schematic illustration of experimental setup for in situ SERS measurement of the liquid phase CO2ER with a three-electrode system. Figure 1

Abstract Hastelloy Alloy G-30 filler metal is used as matching composition filler metal for fabrication of Hastelloy G-30 wrought and cast products and as filler metal for fabrication of G/G-3 alloy wrought products. It is also used for weld repair of high chromium castings and for weld overlay cladding. This datasheet provides information on composition, physical properties, elasticity, and tensile properties as well as fracture toughness. It also includes information on corrosion resistance as well as joining. Filing Code: Ni-432. Producer or source: Haynes International Inc.

Abstract Inco-Weld Filler Metal 686CPT is a welding product with higher (Cr + Mo + W) content than most other nickel-base welding products. This higher alloy content increases the resistance to pitting, crevice, and general corrosion. Applications include welding many CRA materials for corrosive service. This datasheet provides information on composition, hardness, and tensile properties. It also includes information on joining. Filing Code: Ni-517. Producer or source: Inco Alloys International Inc.

Abstract HASTELLOY ALLOY B-2 is a nickel-base alloy with excellent resistance to hydrochloric acid at all concentrations and temperatures. Base metal data is available in Alloy Digest Ni-249, September 1977 This datasheet provides information on composition, physical properties, elasticity, and tensile properties as well as fracture toughness. It also includes information on joining. Filing Code: Ni-425. Producer or source: Haynes International Inc.

Abstract HASTELLOY alloy C-276 is a solid solution, nickel-molybdenum-chromium alloy, with outstanding resistance to localized corrosion and to both oxidizing and reducing media. (See Alloy Digest Ni-164, May 1971, for base metal.) This datasheet provides information on composition, physical properties, elasticity, and tensile properties as well as fracture toughness. It also includes information on corrosion resistance as well as joining. Filing Code: Ni-440. Producer or source: Haynes International Inc.

Abstract CONTINUOUS-CAST ALUMINUM BRONZE has good metal-to-metal wear and abrasion resistance. It has excellent resistance to acid corrosion. Popular aluminum bronze alloys known up to a few years ago only by their trade name specifications are now covered by standard specifications (see Specification Equivalents). This datasheet provides information on composition, physical properties, hardness, elasticity, and tensile properties. It also includes information on corrosion resistance as well as heat treating, machining, and joining. Filing Code: Cu-542. Producer or source: Federal Bronze Products Inc..

Abstract CHAMPION HY-LO 715 is a low-hydrogen welding electrode comprised of an extra low carbon core wire coated with a high-purity, low-carbon flux. Deposited weld metal is characterized by high ductility and excellent impact properties. This datasheet provides information on composition and tensile properties as well as fracture toughness. It also includes information on heat treating and joining. Filing Code: SA-447. Producer or source: Champion Welding Products Inc..

Abstract ZIRCAR ZIRCONIA POWDER TYPEZYP-4.5 is a highly reactive form of zirconium oxide stabilized in the tetragonal crystal state with added yttrium oxide. It is an excellent raw material for producing dense structural and wear resistant parts. This datasheet provides information on composition, physical properties, microstructure, hardness, elasticity, and bend strength as well as fracture toughness. It also includes information on powder metal forms. Filing Code: Cer-1. Producer or source: Zircar Products Inc..

Abstract Inco-Weld Welding Electrode 686CPT is an all-position shielded-metal-arc (SMAW) electrode with highter (CR + Mo + W) content than most other nickel-base welding products. This higher alloy content increases the resistance to pitting, crevice, and general corrosion. Applications include the severest service in pollution control engineering. This datasheet provides information on composition, hardness, and tensile properties. It also includes information on corrosion resistance as well as joining. Filing Code: Ni-515. Producer or source: Inco Alloys International Inc.

Abstract 850.0 ALUMINUM Alloy can be considered the general purpose light metal bearing alloy. Its good thermal conductivity keeps operating temperatures low. It has high ductility. In many applications it has been found to be superior to steel backed bearings. 852.0 ALUMINUM Alloy has higher mechanical properties making it suitable for heavier load and higher temperature applications. This datasheet provides information on composition, physical properties, hardness, elasticity, tensile properties, and shear strength. It also includes information on corrosion resistance as well as heat treating and machining. Filing Code: Al-290. Producer or source: Federated Bronze Products Inc..

Abstract GlidCop AL-25 is copper strengthened by adding a second phase (aluminum oxide) to the matrix by internal oxidation. The process produces a product with resistance to thermal softening, high strength, and creep resistance, combined with high electrical and thermal conductivity. (See also GlidCop AL-15, Alloy Digest Cu-603, May 1996, and GlidCop AL-60, Alloy Digest Cu-608, August 1996.) This datasheet provides information on composition, physical properties, hardness, elasticity, and tensile properties. It also includes information on high temperature performance as well as forming and joining. Filing Code: CU-604. Producer or source: SCM Metal Products Inc.

Abstract GlidCop AL-60 is copper strengthened by adding a second phase (aluminum oxide) to the matrix by internal oxidation. The process produces a product with resistance to thermal softening, high strength, and creep resistance, combined with high electrical and thermal conductivity. (See also GlidCop AL-15, Alloy Digest Cu-603, May 1996, and GlidCop AL-25, Alloy Digest Cu-604, June 1996.) This datasheet provides information on composition, physical properties, hardness, elasticity, and tensile properties. It also includes information on high temperature performance as well as forming and joining. Filing Code: CU-608. Producer or source: SCM Metal Products Inc.

Abstract GlidCop AL-15 is copper strengthened by adding a second phase, aluminum oxide, to the matrix by internal oxidation. The process produces a product with resistance to thermal softening, high strength, and creep, combined with high electrical and thermal conductivity. (See also GlidCop AL-25, Alloy Digest Cu-604, June 1996, and GlidCop AL-60, Alloy Digest Cu-608, August 1996.) This datasheet provides information on composition, physical properties, hardness, elasticity, and tensile properties as well as creep. It also includes information on high temperature performance as well as forming and joining. Filing Code: CU-603. Producer or source: SCM Metal Products Inc.

Despite widespread use of the deuterium isotope effect, selective deuterium labeling of chemical molecules remains a major challenge. Herein, a facile and general electrochemically driven, organic mediator enabled deuteration of styrenes with deuterium oxide (D2O) as the economical deuterium source was reported. Importantly, this transformation could be suitable for various electron rich styrenes mediated by triphenylphosphine (TPP). The reaction proceeded under mild conditions without transition‐metal catalysts, affording the desired products in good yields with excellent D‐incorporation (D‐inc, up to > 99%). Mechanistic investigations by means of isotope labeling experiment and cyclic voltammetry tests provided sufficient support for this transformation. Notably, this method proved to be a powerful tool for late‐stage deuteration of biorelevant compounds.

Despite widespread use of the deuterium isotope effect, selective deuterium labeling of chemical molecules remains a major challenge. Herein, a facile and general electrochemically driven, organic mediator enabled deuteration of styrenes with deuterium oxide (D2O) as the economical deuterium source was reported. Importantly, this transformation could be suitable for various electron rich styrenes mediated by triphenylphosphine (TPP). The reaction proceeded under mild conditions without transition‐metal catalysts, affording the desired products in good yields with excellent D‐incorporation (D‐inc, up to > 99%). Mechanistic investigations by means of isotope labeling experiment and cyclic voltammetry tests provided sufficient support for this transformation. Notably, this method proved to be a powerful tool for late‐stage deuteration of biorelevant compounds.

AbstractAculon, Inc. specializes in inventing and commercializing unique molecular-scale surface and interfacial coatings leveraging nanotechnology discoveries made at Princeton University. These coatings can be classified into three functional areas; non-stick, pro-stick/adhesion, and anti-corrosion. The company has formulated coating solutions and processes for numerous markets including optical, display, electronics, consumer products and industrial coatings. These specialized coatings outperform all known alternatives in characteristics such as adhesion, stain resistance, and scratch resistance. Fueling the company’s commercialization efforts are its proprietary Self-Assembled Monolayer of Phosphonates (SAMP) technology. The commercialization of SAMP treatments can be used for a variety of applications including imparting hydrophobicity, adhesion, or corrosion inhibition to numerous substrates. For surface treatments to be effective, they must be mechanically and chemically stable under conditions experienced in the intended area of use. Aculon’s proprietary Self-Assembled Monolayer of Phosphonates methodology can impart any of these properties as desired to metals, metal oxides and even some polymer surfaces by drawing on its library of structurally tailored phosphonic acids. The secret to the commercialization is covalent bonding, which creates a uniquely strong attachment between the SAMP and the substrate. Because the SAMP is one approximately 1.5 nm thick, it completely covers the material to which it is applied, and assures total surface coverage regardless of the type or texture of that material. The composition of the SAMP determines the properties that it imparts to its substrate. In 1998, Professor Jeffery Schwartz of Princeton University discovered that well-ordered monolayers of phosphonates could be formed by self-assembly on a wide variety of oxide and oxide-terminated surfaces. At that time Professor Schwartz and his team also discovered that a simple dip process enabled SAMP formation on substrates of complex structures and geometries, as well as traditionally “unreactive” surfaces. The research showed that SAMP adhesion to oxides was mechanically strong and resisted removal by hydrolysis and oxidation. It showed further that by using the dip method, SAMPs of a variety of molecular structures, including aliphatic, aromatic, and heteroaromatic, could be prepared. Commercialization of SAMPs proves that such surface-bound phosphonates can dictate control of the surface properties of myriad substrates and that they can be implemented using well-known industrial techniques and conditions. These processes can be scaled to meet the needs of large or small facilities, and can be applied to surfaces of nearly any size or shape without special needs. Based on the needs of the producer, surface modification can be completed during the time of manufacturing or can be performed as a post-production step.

Introduction From the annual ‘Pink Test’ cricket match in Australia to Mother’s Day fun runs, there has been a proliferation of ‘pink’ uniformed charity events. This article analyses the pink uniform of the 2020 Cancer Council Tasmania’s Women’s first virtual 5K walk/run (W5K). The Women’s 5K event took take place virtually in September 2020 due to COVID-19 restrictions. The annual event, which runs through the CBD of Launceston, a regional city in Tasmania, typically attracts around 2,000 participants and is Cancer Council Tasmania’s major annual fundraiser. Cancer Council received 798 registrations for the 2020 virtual event and raised over $120,000. Locating the W5K pink uniform within the emergence of “embodied philanthropy” (Robert), this article analyses how pink uniforms were used by virtual walkers and runners to recreate the mass affective and community spectacle of the usually in-person event. Drawing upon Vilnai-Yavert and Rafaeli’s artifacts framework, the article extends the concept of “embodied philanthropy” to outline the instrumental, symbolic and aesthetic dimensions of the pink sports charity uniform. While acknowledging the risks of “pinkwashing” in reproducing narrow gender ideals and bright-siding cancer, the article argues the pink uniform was vital in staging a meaningful and impactful virtual event. Sports Uniforms Uniforms are central to the formation and expression of collective and organisational identities (Craik; Timmons and East; Joseph and Alex). The classic sociological articulation of uniforms is that they function to define boundaries, ensure conformity, and suppress individuality. Sport provides a key space to analyse how uniforms discipline individuals and bodies but also challenge and reject rules and bodily regulations. Sport is a window to examine how uniforms involve a tension between both tradition and innovation and regulation and experimentation (Craik 139). While research has examined sport fans and team uniforms there is little research on the sport charity uniform. Much of the sociological literature on sporting uniforms focusses on male football fans. Back et al. point out that “the notion of “wearing the shirt” summons the “deepest level of symbolic identity and commitment” (82). For dedicated fans, wearing their team’s apparel is a potent and embodied “emblem of locality and identity” (82). More recent research has focussed on the ways in which sporting uniforms can be used in social movements and political protest. These include the inclusion of LGBTQI ‘rainbow’ tops in basketball (Bagley and Liao) and the ways in which Serena Williams’s clothing choices were used to challenge traditional race, class and gender assumptions in tennis (Allen). Redressing the skewed focus on uniforms among male sports fans, Sveinson, Hoeber, and Toffoletti argue that pink merchandise and clothing are cultural artifacts worn and conceptualised by female fans as representing different aspects of their identity. Their findings show that women who follow professional sports teams tend to reject “pink and pretty” offerings, as they reproduce a traditional view of femininity that delegitimatises their fan identity. This laden symbolism is critical to understanding the pink uniform of the W5K. Pinkification of Cancer One of the most well-known aspects of the pink uniform is the “pink ribbon” campaign. Ribbon wearers acknowledge that they are connected to cancer in some way; as a survivor, a friend or relative, or as advocates committed to the medical research needed to find a cure for breast (and other) cancers. Moore’s ‘ribbon culture’ identifies four main symbolic uses of the ribbon: show solidarity with a cause or group; tool for community campaigns; a token of mourning; or to display ‘self-awareness’ in the wearer. The emergence of the pink uniform in sports charity can be linked to the Susan G Komen foundation, one of the early pioneers of cause-related marketing and the founder of the Race for the Cure, the earliest of sports charity events (Palmer). King suggests the colour pink was chosen for race merchandise as it conveyed traditional notions of femininity and was part of the Foundation’s strategy of normalising discussion of breast cancer. The associations between pink, breast cancer, and identity categories of women (mother, sister, daughter, etc.) have been key to the fundraising success of Komen, largely because they were implicitly positioned in opposition to other health promotion campaigns (e.g., AIDS) also competing for market attention in the 1980s and 1990s. While AIDS was associated with “deviant” identities of gay men, drug users, and sex workers, breast cancer was made visible “through straight, White, married, young to middle aged women” (King 107). Since this time many men’s sporting leagues and events globally have partnered with breast cancer and other “pink” initiatives. In Australia, the annual ‘Pink Test’ cricket match raises money for breast cancer care nurses, while in the US NFL players wear pink socks and gloves. The proliferation of pink events and associated merchandise has led to criticisms of “pinkwashing” (Lyon and Montgomery 223), whereby corporations exploit pink branding to promote products which contribute very little – if anything at all – to cancer research, education, and advocacy efforts (Carter; Devlin and Sheehan). Sociologists like Ehrenreich and Moore have been critical of this “pinkification”, suggesting that it “bright-sides” breast cancer – by relentlessly emphasising a positive resolve – while simultaneously amplifying concerns about the illness. Rather than “awareness raising”, Moore suggests the close association of pink ribbon culture with consumer beauty and fitness products (e.g., Estee Lauder; LessBounce sports bras) reinforces narrow ideals of femininity, but also adds to the pervasive dread of breast cancer in relation to these same ideals (for example, via chemotherapy-induced hair loss and mastectomies). The following section introduces the theoretical framework. Embodied Philanthropy and Material Artifacts Julie Robert’s “embodied philanthropy” provides a useful theoretical starting point for analysing the pink uniform of sports charity. Robert (1) describes embodied philanthropy as part of a cultural movement where people "pledge their bodies to raise funds for and awareness of a variety of causes". Embodied philanthropy often relies on the body to publicly display altruism and one’s own ‘will to health’. Embodied philanthropy thus offers a highly visible means of modeling “good citizenship”, particularly in practicing both care of the self and civic minded entrepreneurialism (Wade et al.). While embodied philanthropy draws attention to the body and its emerging role in charitable endeavours, it overlooks how material “things” such as clothes, costumes, and uniforms are integral to the embodied performances characteristic of sports charity events. Vilnai-Yavetz and Rafaeli’s interdisciplinary organisational artifacts framework provides a useful way to extend Robert’s focus on the body in philanthropy to include embodied artifacts such as uniforms and clothing. For this article, artifacts are conceptualised as material objects such as pink t-shirts, ribbons, and hats purposely worn for W5K participation and fundraising. Vilnai-Yavetz and Rafaeli posit three dimensions through which organisational artifacts produce meaning: 1) instrumentality: the “impact of an artifact on the tasks or goals of people, groups, or organisations” (12); 2) aesthetics: the “sensory experience an artifact elicits” (12); and 3) symbolism: the “meanings and associations an artifact elicits” (14). Vilnai-Yavetz and Rafaeli’s model offers a way of conceptualising the embodied role of uniform for understanding more short-term or ephemeral types of sporting community, such as the “neo-tribes” (Maffesoli) that form around fitness philanthropy events (e.g. annual fun runs). How then do people understand the role of the pink uniform when participating in sports charity events? What role does the pink uniform play instrumentally, aesthetically, and symbolically? Do cancer charities need to rethink their use of pink considering concerns about pinkwashing, bright-siding cancer, and reproducing constrictive gender ideals? The following section uses the findings from a wider qualitative interview-based study on motivations and experiences of participating and fundraising in the 2020 virtual W5 to help answer these questions. The interview sample comprised 12 women and one man with an age range of 32 to 75. Transcribed interviews were thematically analysed, guided by the theoretical framework. Recreating the ‘Sea of Pink’: Instrumental, Symbolic, and Aesthetic Dimensions of the Pink Sports Charity Uniform Most participants framed their virtual participation in terms of missing the in-person spectacle of the “sea of pink running through the streets” (Emily). In the context of this mass “absence” of pink, wearing and displaying artifacts such as pink T-shirts, ribbons, bandanas, hats, face paint, and dyed hair were assembled as an “informal” sports charity uniform. The following participants capture this creative use of the pink uniform: I had the pink shirt and then we had pink hats and my neighbour who’s had cancer came and she had pink on. (Grace) I decked myself out in pink and all the number and whatever else and yeah, I had a great time by myself. I had music going and yeah … I think I might have even had pink hair at the time. (Leah) These descriptions evoke Robert’s claim that embodied philanthropy leans heavily on the “showiness of the body for philanthropic ends” (4). However, rather than moralised displays of suffering or neoliberal models of self-responsibility, the pink uniform plays out as part of a rejection of more ‘elite’ forms of embodied philanthropy with the emphasis on ‘fun’, ‘play’, and ‘enjoyment’. The pink uniform figures as a rejection of martyr-like displays and expectations commonly observed in other forms of embodied philanthropy, with participants not expected to suffer for the cause but rather to gather, play, remember, and celebrate. Building on uniform as a feature of embodied philanthropy, the following section uses Vilnai-Yavetz and Rafaeli’s framework to analyse the instrumental, symbolic, and aesthetic dimensions of the W5K pink uniform. Instrumental Dimensions Instrumentality relates to how artifacts serve to achieve individual and organisational goals (Vilnai-Yavetz and Rafeili). Three key instrumental functions of the pink uniform can be identified in the participants’ stories. First, wearing and displaying artifacts such as pink T-shirts and hair-dye enabled participants to become producers of their own sports charity events. As Elizabeth said: “I would happily wear my t-shirt and do my own fun run”. Displaying the pink uniform enabled participants to stage their own “micro” fitness philanthropy event in the absence of the “sea of pink”. The pink uniform was central to participants and organisers being able to produce and stage individualised embodied philanthropy events without the corporeal ‘mass’ of the mass-participation event. Second, the pink uniform helped participants simulate the affective spectacle, ritual, and “neo-tribal” warmth (Maffesoli) of the face-to-face event. The pink uniform was key to producing a sense of ritualised ‘atmosphere’ and generating feelings of connection and solidarity. The shift to a virtual format meant greater reliance on participants producing imagery of their participation to generate a sense of online community and affective spectacle. Social media affordances, including the use of the #doitforher hashtag, were vital to creating this collective affect. Without sharing and circulating imagery of the pink uniform through social media, organisers would have struggled to host a meaningful and viable event. Chloe commented how “I felt the presence with the online kind of sharing of other people’s experiences, quite motivating and really wonderful … just being out and seeing other people in a sea of pink and doing their version of the event was quite special”. Third, participants used their own creative labour to craft and display pink uniforms that expressed their connection to the cause (fighting cancer) and organisation (Cancer Council). In Robert’s terms, the pink uniform transformed the body into a charitable “billboard” and “income generator”. For example, Penelope discussed how their running club made their own t-shirts for their event – complete with individual nicknames –, while Elizabeth described how they designed a stamp that featured a picture of herself wearing a Cancer Council t-Shirt to publicise the event. This echoes aforementioned claims that ‘wearing the shirt’ establishes symbolic identity and commitment. However, rather than generating feelings of allegiance to a club, the pink shirt expressed connection with the cause or organisation while also serving advocacy purposes. As Chloe said: “just getting out there in the pink top is raising awareness”. The t-shirt also operated as a communicator of “good citizenship”, implicitly enjoining others to support the cause (Palmer). Elizabeth, for instance, described wearing her pink Cancer Council T-shirt to an aged care facility where she volunteers to solicit “a couple of extra donations”, while Katie and Sandra explained how they wore pink shirts during their walk/runs as a way of gaining recognition and showing others “you’re doing that good work”. Symbolic Dimensions The pink charity uniform had powerful symbolic functions for participants. Participants discussed how wearing pink was linked to honouring loved ones who had died from cancer. Leah discussed how she ran her event wearing the same pink ribbon she wore at the funeral of her friend’s mother, who died from breast cancer. This aligns with Moore’s research, where ribbon wearing to signify mourning proves one of the key symbolic uses of ribbon culture. Zoe similarly expressed the links between wearing pink and rituals of reminiscence: “we both made sure we had some pink on … as we walked, we talked about [their friend] and her battle and why we were doing it … we were thinking of who we were walking for”. Pink was also worn by survivors of breast cancer such as Sandra who walked with her mum (also a breast cancer survivor) and friends: “we all had pink stuff. We painted pink on our faces. Walked the main road when we knew there was going to be a lot of traffic … so people could see us dressed in pink”. Sandra described “walking the streets with pink love hearts on our faces” as her most memorable moment of the event. While “pink ribbon culture” and the wider “pinkification” of cancer has been critiqued as “brightsiding” cancer and reinforcing narrow ideals of femininity (Ehrenreich; Moore), it is hard to deny the symbolic power of pink for these participants as a means to mourn, remember, and celebrate survivorship. The meaning of pink clothing as a gendered marker was also important in this research. While Sveinson et al. highlight problems that female sports fans have with pink merchandising, this was not an issue for the charity participants. There was a congruence between wearing pink and participants’ charitable identities. Despite pink being a close signifier of breast cancer fundraising (King), participants reflected on the importance of the W5K in supporting all cancers, particularly as breast cancer attracts “more donations” (Sandra) and “gets a lot of attention in the media” (Maureen). However, W5K’s pink branding did lead some participants, like Greg, to mistakenly believe the event is a “breast cancer race”, despite the target audience being all Tasmanians impacted upon by cancer. The feminine associations of pink – coupled with the event name – also meant some participants were unclear whether men could participate. Katie said “I love that they have the pink colouring” but it “wasn’t obvious to me that both men and women could do the walk”. Katie showed how there can be an incongruence between masculine identities and the “pink run” uniform. She commented: “my Dad was a bit reticent about wearing pink ...but he was willing to take it for the team for the day”. While Greg said he was a “metrosexual man” and “didn’t mind wearing a bit of pink”, he agreed the pink uniform created a strong impression the W5K was a “women’s only race”. Both Katie and Greg suggested that organisers should look to include more men wearing pink as part of promotional materials. Unlike Sveinson et al., who showed a tension between pink clothing and women’s fan identities, in the W5K men and women were generally comfortable wearing pink due to its higher-order symbolism as part of “fighting” cancer and “doing something good”. More widely, these findings highlight the unstable gendered meanings of pink and that rather than the pinkification of cancer simply reinforcing narrow gender ideals, it may also open possibilities, particularly for men, to express inclusive and ‘caring’ masculinities (Elliott). Aesthetic Dimensions The Cancer Council actively encourages fun and creativity in costumes for the W5K event. Images of this irreverent costuming and effervescent spectacle are re-circulated via social media to promote future participation. This is illustrated in the image below from Cancer Council’s Instagram account: Fig. 1: Instagram post by the Cancer Council While pink clothing is encouraged by the Cancer Council, individual comfort and expression is emphasised in efforts to make the event as inclusive as possible. Hence, some participants – especially ‘serious’ runners – dress in purely utilitarian modes, opting for pink running singlets, shorts, tights etc., while others embrace comically non-utilitarian styles, such as wearing tutus, feather boas, fairy wings, colourful wigs, face paint, or dyed hair. Unlike comparable events – like Nike’s women’s-only ‘She Runs the Night’ event, where all participants were required to wear identical Nike-branded pink singlets or t-shirts – the Cancer Council’s W5K encourages individual expression and creativity in clothing and adornments. In short, a kind of non-uniformity of uniform is actively promoted, so long as these displays can still be captured and circulated as signifiers of support for the cause. While the aesthetics of the ‘sea of pink’ inevitability reproduce narrow gendered tropes, it also resists others, including the ‘tailored modesty, neatness, demureness’ (Craik 13) expected of women in uniform, along with burdensome cultural ideals around the ‘fit’ and ‘feminine’ body. The lighthearted, intentionally comical pinkification – while introducing ambiguities about whether the W5K is a women’s only event – does potentially make it easier for men to participate, enabling them to shake off any stereotypical assumptions related to wearing ‘unmasculine’ colours and clothing. Greg said that ‘while I don’t think I wore pink on the day … I would’ve been happy to put some pompons on, and really jazz it up!’ Conclusion Using Cancer Council Tasmania’s first virtual 5k walk-run as an empirical case-study, the article discusses creative pink adornments as a unique sports charity uniform. Locating the pink uniform within the rise of global “pink events” and initiatives, the article suggests that the pink uniform provides a new lens to examine the material role of uniforms beyond existing research in the sociology of sport and leisure. Theoretically the article positions the emergence of the pink charity uniform as part of Robert’s “embodied philanthropy”. A key theoretical argument is that while Robert’s framework helps grasp the push toward the body-as-signifier in mass participation fundraising events, it downplays the role material artifacts such as clothing play in embodied sporting performances. It is suggested that Vilnai-Yavetz and Rafaeli’s organisational artifacts model provides a useful way to attend to the extra-corporeal aspects of “embodied philanthropy”, underlining the instrumental, symbolic, and aesthetic dimensions of uniforms as artifacts. Empirically the article highlights three key instrumental uses of the pink uniform for W5K participants. First, the uniform enabled participants to produce their own charity event; second, it helped recreate the affective spectacle and “neo-tribal” (Maffesoli) warmth of the physical event; and third, the uniform expressed connection to the cause or organisation and turned the body into a “charitable billboard” (Robert). Symbolically, the uniform, via practices such as wearing pink ribbons, helped foster rituals of mourning and remembrance. Notwithstanding persuasive critiques of pinkwashing, participants celebrated the use of pink, though some felt it sent an ambiguous message about whether men were welcome. Nonetheless, there was little identity incongruence between wearing pink and expressing sports charity identities. These findings highlight how the gendered meaning of pink artefacts are fluid and thus challenge ideas that the pinkification of cancer simply reinforces narrow gender ideals. For example, the men interviewed show how pink artefacts may work to symbolically and materially challenge traditional gendered orthodoxies and even help men express more progressive gendered identities. Aesthetically a “non-uniformity of uniform” was promoted, with the pink uniform working as a loosely aggregated symbolic system accommodating both utilitarian and non-utilitarian styles. While many theorists have raised concerns about the pinkification of cancer – both in its insistent positivity discourses and reproducing narrow gendered ideals – the aesthetics of the pink uniform in the W5K were overwhelmingly celebrated and embraced as light-hearted and fun: as material artifacts key to a joyously inclusive and community-building spectacle. References Back, Les, Tim Crabbe, and John Solomos. The Changing Face of Football: Racism, Identity and Multiculture in the English Game. Berg, 2001. Bagley, Meredith M., and Judy Liao. "Blocked Out: Athletic Voices and WNBA Uniform Politics." Sportswomen’s Apparel in the United States. Cham: Palgrave Macmillan, 2021. 57-74. Carter, Meg. "Backlash against 'Pinkwashing' of Breast Cancer Awareness Campaigns." BMJ: British Medical Journal 351 (2015). Craik, Jennifer. Uniforms Exposed: From Conformity to Transgression. Berg, 2005. Crawford, Garry. "The Career of the Sport Supporter: The Case of the Manchester Storm." Sociology 37.2 (2003): 219-237. Devlin, Michael, and Kim Sheehan. "A 'Crucial Catch': Examining Responses to NFL teams’ Corporate Social Responsibility Messaging on Facebook." Communication & Sport 6.4 (2018): 477-498. Ehrenreich, Barbara. Bright-Sided: How the Relentless Promotion of Positive Thinking Has Undermined America. Metropolitan Books, 2009. Fawbert, J. "Replica Football Shirts: A Case of Incorporation of Popular Dissent?" Social Science Teacher 27 (1997): 9-13. Joseph, Nathan, and Nicholas Alex. "The Uniform: A Sociological Perspective." American Journal of Sociology 77.4 (1972): 719-730. King, Samantha. "Pink Ribbons Inc.: The Emergence of Cause-Related Marketing and the Corporatization of the Breast Cancer Movement." Governing the Female Body: Gender, Health, and Networks of Power (2010): 85-111. Lyon, Thomas P., and A. Wren Montgomery. "The Means and End of Greenwash." Organization & Environment 28.2 (2015): 223-249. Moore, Sarah E.H. Ribbon Culture: Charity, Compassion and Public Awareness. Palgrave, 2008. Maffesoli, Michel. The Time of the Tribes. The Decline of Individualism in Mass Society. Sage, 1996. Palmer, C. Fitness Philanthropy: Sport, Charity and Everyday Giving. Cambridge Scholars Publishing, 2020. Robert, J. "Practices and Rationales of Embodied Philanthropy. International Journal of Nonprofit and Voluntary Sector Marketing 23.3 (2018): e1595. Shaonta’E, Allen. "Braids, Beads, Catsuits and Tutus: Serena Williams' Intersectional Resistance through Fashion." Athlete Activism. Routledge, 2021. 132-143. Sveinson, Katherine, Larena Hoeber, and Kim Toffoletti. "'If People Are Wearing Pink Stuff They’re Probably Not Real Fans': Exploring Women’s Perceptions of Sport Fan Clothing." Sport Management Review 22.5 (2019): 736-747. Timmons, Stephen, and Linda East. "Uniforms, Status and Professional Boundaries in Hospital." Sociology of Health & Illness 33.7 (2011): 1035-1049. Wade, Matthew, Nicholas Hookway, Kevin Filo, and Catherine Palmer. “Embodied Philanthropy and Sir Captain Tom Moore's 'Walk for the NHS'.” Journal of Philanthropy and Marketing 27.3 (2022): e1747. Vilnai-Yavetz, Iris, and Anat Rafaeli. "Managing Artifacts to Avoid Artifact Myopia". Artifacts and Organizations: Beyond Mere Symbolism. Eds. Anat Rafaeli and Michael G Pratt. Lawrence Erlbaum, 2006. 9–21.

There are spells in the world: incantations that can transform reality through the power of procedural utterances. The marriage vow, the courtroom sentence, the shaman’s curse: these words are codes that change reality. (Finn 90) Introduction As a child, stories on magic were “opportunities to escape from reality” (Brugué and Llompart 1), or what Rosengren and Hickling describe as being part of a set of “causal belief systems” (77). As an adult, magic is typically seen as being “pure fantasy” (Rosengren and Hickling 75), while Bever argues that magic is something lost to time and materialism, and alternatively a skill that Yeats believed that anyone could develop with practice. The etymology of the word magic originates from magein, a Greek word used to describe “the science and religion of the priests of Zoroaster”, or, according to philologist Skeat, from Greek megas (great), thus signifying "the great science” (Melton 956). Not to be confused with sleight of hand or illusion, magic is traditionally associated with learned people, held in high esteem, who use supernatural or unseen forces to cause change in people and affect events. To use magic these people perform rituals and ceremonies associated with religion and spirituality and include people who may identify as Priests, Witches, Magicians, Wiccans, and Druids (Otto and Stausberg). Magic as Technology and Technology as Magic Although written accounts of the rituals and ceremonies performed by the Druids are rare, because they followed an oral tradition and didn’t record knowledge in a written form (Aldhouse-Green 19), they are believed to have considered magic as a practical technology to be used for such purposes as repelling enemies and divining lost items. They curse and blight humans and districts, raise storms and fogs, cause glamour and delusion, confer invisibility, inflict thirst and confusion on enemy warriors, transform people into animal shape or into stone, subdue and bind them with incantations, and raise magical barriers to halt attackers. (Hutton 33) Similarly, a common theme in The History of Magic by Chris Gosden is that magic is akin to science or mathematics—something to be utilised as a tool when there is a need, as well as being used to perform important rituals and ceremonies. In TechGnosis: Myth, Magic & Mysticism in the Age of Information, Davis discusses ideas on Technomysticism, and Thacker says that “the history of technology—from hieroglyphics to computer code—is itself inseparable from the often ambiguous exchanges with something nonhuman, something otherworldly, something divine. Technology, it seems, is religion by other means, then as now” (159). Written language, communication, speech, and instruction has always been used to transform the ordinary in people’s lives. In TechGnosis, Davis (32) cites Couliano (104): historians have been wrong in concluding that magic disappeared with the advent of 'quantitative science.’ The latter has simply substituted itself for a part of magic while extending its dreams and its goals by means of technology. Electricity, rapid transport, radio and television, the airplane, and the computer have merely carried into effect the promises first formulated by magic, resulting from the supernatural processes of the magician: to produce light, to move instantaneously from one point in space to another, to communicate with faraway regions of space, to fly through the air, and to have an infallible memory at one’s disposal. Non-Fungible Tokens (NFTs) In early 2021, at the height of the pandemic meta-crisis, blockchain and NFTs became well known (Umar et al. 1) and Crypto Art became the hot new money-making scheme for a small percentage of ‘artists’ and tech-bros alike. The popularity of Crypto Art continued until initial interest waned and Ether (ETH) started disappearing in the manner of a classic disappearing coin magic trick. In short, ETH is a type of cryptocurrency similar to Bitcoin. NFT is an acronym for Non-Fungible Token. An NFT is “a cryptographic digital asset that can be uniquely identified within its smart contract” (Myers, Proof of Work 316). The word Non-Fungible indicates that this token is unique and therefore cannot be substituted for a similar token. An example of something being fungible is being able to swap coins of the same denomination. The coins are different tokens but can be easily swapped and are worth the same as each other. Hackl, Lueth, and Bartolo define an NFT as “a digital asset that is unique and singular, backed by blockchain technology to ensure authenticity and ownership. An NFT can be bought, sold, traded, or collected” (7). Blockchain For the newcomer, blockchain can seem impenetrable and based on a type of esoterica or secret knowledge known only to an initiate of a certain type of programming (Cassino 22). The origins of blockchain can be found in the research article “How to Time-Stamp a Digital Document”, published by the Journal of Cryptology in 1991 by Haber, a cryptographer, and Stornetta, a physicist. They were attempting to answer “epistemological problems of how we trust what we believe to be true in a digital age” (Franceschet 310). Subsequently, in 2008, Satoshi Nakamoto wrote The White Paper, a document that describes the radical idea of Bitcoin or “Magic Internet Money” (Droitcour). As defined by Myers (Proof of Work 314), a blockchain is “a series of blocks of validated transactions, each linked to its predecessor by its cryptographic hash”. They go on to say that “Bitcoin’s innovation was not to produce a blockchain, which is essentially just a Merkle list, it was to produce a blockchain in a securely decentralised way”. In other words, blockchain is essentially a permanent record and secure database of information. The secure and permanent nature of blockchain is comparable to a chapter of the Akashic records: a metaphysical idea described as an infinite database where information on everything that has ever happened is stored. It is a mental plane where information is recorded and immutable for all time (Nash). The information stored in this infinite database is available to people who are familiar with the correct rituals and spells to access this knowledge. Blockchain Smart Contracts Blockchain smart contracts are written by a developer and stored on the blockchain. They contain the metadata required to set out the terms of the contract. IBM describes a smart contract as “programs stored on a blockchain that run when predetermined conditions are met”. There are several advantages of using a smart contract. Blockchain is a permanent and transparent record, archived using decentralised peer-to-peer Distributed Ledger Technology (DLT). This technology safeguards the security of a decentralised digital database because it eliminates the intermediary and reduces the chance of fraud, gives hackers fewer opportunities to access the information, and increases the stability of the system (Srivastava). They go on to say that “it is an emerging and revolutionary technology that is attracting a lot of public attention due to its capability to reduce risks and fraud in a scalable manner”. Despite being a dry subject, blockchain is frequently associated with magic. One example is Faustino, Maria, and Marques describing a “quasi-religious romanticism of the crypto-community towards blockchain technologies” (67), with Satoshi represented as King Arthur. The set of instructions that make up the blockchain smart contracts and NFTs tell the program, database, or computer what needs to happen. These instructions are similar to a recipe or spell. This “sourcery” is what Chun (19) describes when talking about the technological magic that mere mortals are unable to comprehend. “We believe in the power of code as a set of magical symbols linking the invisible and visible, echoing our long cultural tradition of logos, or language as an underlying system of order and reason, and its power as a kind of sourcery” (Finn 714). NFTs as a Conceptual Medium In a “massively distributed electronic ritual” (Myers, Proof of Work 100), NFTs became better-known with the sale of Beeple’s Everydays: The First 5000 Days by Christie’s for US$69,346,250. Because of the “thousandfold return” (Wang et al. 1) on the rapidly expanding market in October 2021, most people at that time viewed NFTs and cryptocurrencies as the latest cash cow; some artists saw them as a method to become financially independent, cut out the gallery intermediary, and be compensated on resales (Belk 5). In addition to the financial considerations, a small number of artists saw the conceptual potential of NFTs. Rhea Myers, a conceptual artist, has been using the blockchain as a conceptual medium for over 10 years. Myers describes themselves as “an artist, hacker and writer” (Myers, Bio). A recent work by Myers, titled Is Art (Token), made in 2023 as an Ethereum ERC-721 Token (NFT), is made using a digital image with text that says “this token is art”. The word ‘is’ is emphasised in a maroon colour that differentiates it from the rest in dark grey. The following is the didactic for the artwork. Own the creative power of a crypto artist. Is Art (Token) takes the artist’s power of nomination, of naming something as art, and delegates it to the artwork’s owner. Their assertion of its art or non-art status is secured and guaranteed by the power of the blockchain. Based on a common and understandable misunderstanding of how Is Art (2014) works, this is the first in a series of editions that inscribe ongoing and contemporary concerns onto this exemplar of a past or perhaps not yet realized blockchain artworld. (Myers, is art editions). This is a simple example of their work. A lot of Myers’s work appears to be uncomplicated but hides subtle levels of sophistication that use all the tools available to conceptual artists by questioning the notion of what art is—a hallmark of conceptual art (Goldie and Schellekens 22). Sol LeWitt, in Paragraphs on Conceptual Art, was the first to use the term, and described it by saying “the idea itself, even if not made visual, is as much a work of art as any finished product”. According to Bailey, the most influential American conceptual artists of the 1960s were Lucy Lippard, Sol LeWitt, and Joseph Kosuth, “despite deriving from radically diverse insights about the reason for calling it ‘Conceptual Art’” (8). Instruction-Based Art Artist Claudia Hart employs the instructions used to create an NFT as a medium and artwork in Digital Combines, a new genre the artist has proposed, that joins physical, digital, and virtual media together. The NFT, in a digital combine, functions as a type of glue that holds different elements of the work together. New media rely on digital technology to communicate with the viewer. Digital combines take this one step further—the media are held together by an invisible instruction linked to the object or installation with a QR code that magically takes the viewer to the NFT via a “portal to the cloud” (Hart, Digital Combine Paintings). QR codes are something we all became familiar with during the on-and-off lockdown phase of the pandemic (Morrison et al. 1). Denso Wave Inc., the inventor of the Quick Response Code or QR Code, describes them as being a scannable graphic that is “capable of handling several dozen to several hundred times more information than a conventional bar code that can only store up to 20 digits”. QR Codes were made available to the public in 1994, are easily detected by readers at nearly any size, and can be reconfigured to fit a variety of different shapes. A “QR Code is capable of handling all types of data, such as numeric and alphabetic characters, Kanji, Kana, Hiragana, symbols, binary, and control codes. Up to 7,089 characters can be encoded in one symbol” (Denso Wave). Similar to ideas used by the American conceptual artists of the 1960s, QR codes and NFTs are used in digital combines as conceptual tools. Analogous to Sol LeWitt’s wall drawings, the instruction is the medium and part of the artwork. An example of a Wall Drawing made by Sol LeWitt is as follows: Wall Drawing 11A wall divided horizontally and vertically into four equal parts. Within each part, three of the four kinds of lines are superimposed.(Sol LeWitt, May 1969; MASS MoCA, 2023) The act or intention of using an NFT as a medium in art-making transforms it from being solely a financial contract, which NFTs are widely known for, to an artistic medium or a standalone artwork. The interdisciplinary artist Sue Beyer uses Machine Learning and NFTs as conceptual media in her digital combines. Beyer’s use of machine learning corresponds to the automatic writing that André Breton and Philippe Soupault of the Surrealists were exploring from 1918 to 1924 when they wrote Les Champs Magnétiques (Magnetic Fields) (Bohn 7). Automatic writing was popular amongst the spiritualist movement that evolved from the 1840s to the early 1900s in Europe and the United States (Gosden 399). Michael Riffaterre (221; in Bohn 8) talks about how automatic writing differs from ordinary texts. Automatic writing takes a “total departure from logic, temporality, and referentiality”, in addition to violating “the rules of verisimilitude and the representation of the real”. Bohn adds that although “normal syntax is respected, they make only limited sense”. An artificial intelligence (AI) hallucination, or what Chintapali (1) describes as “distorted reality”, can be seen in the following paragraph that Deep Story provided after entering the prompt ‘Sue Beyer’ in March 2022. None of these sentences have any basis in truth about the person Sue Beyer from Melbourne, Australia. Suddenly runs to Jen from the bedroom window, her face smoking, her glasses shattering. Michaels (30) stands on the bed, pale and irritated. Dear Mister Shut Up! Sue’s loft – later – Sue is on the phone, looking upset. There is a new bruise on her face. There is a distinction between AI and machine learning. According to ChatGPT 3.5, “Machine Learning is a subset of AI that focuses on enabling computers to learn and make predictions or decisions without being explicitly programmed. It involves the development of algorithms and statistical models that allow machines to automatically learn from data, identify patterns, and make informed decisions or predictions”. Using the story generator Deep Story, Beyer uses the element of chance inherent in Machine Learning to create a biography on herself written by the alien other of AI. The paragraphs that Deep Story produces are nonsensical statements and made-up fantasies of what Beyer suspects AI wants the artist to hear. Like a psychic medium or oracle, providing wisdom and advice to a petitioner, the words tumble out of the story generator like a chaotic prediction meant to be deciphered at a later time. This element of chance might be a short-lived occurrence as machine learning is evolving and getting smarter exponentially, the potential of which is becoming very evident just from empirical observation. Something that originated in early modernist science fiction is quickly becoming a reality in our time. A Metamodern Spell Casting Metamodernism is an evolving term that emerged from a series of global catastrophes that occurred from the mid-1990s onwards. The term tolerates the concurrent use of ideas that arise in modernism and postmodernism without discord. It uses oppositional aspects or concepts in art-making and other cultural production that form what Dember calls a “complicated feeling” (Dember). These ideas in oscillation allow metamodernism to move beyond these fixed terms and encompass a wide range of cultural tendencies that reflect what is known collectively as a structure of feeling (van den Akker et al.). The oppositional media used in a digital combine oscillate with each other and also form meaning between each other, relating to material and immaterial concepts. These amalgamations place “technology and culture in mutual interrogation to produce new ways of seeing the world as it unfolds around us” (Myers Studio Ltd.). The use of the oppositional aspects of technology and culture indicates that Myers’s work can also be firmly placed within the domain of metamodernism. Advancements in AI over the years since the pandemic are overwhelming. In episode 23 of the MIT podcast Business Lab, Justice stated that “Covid-19 has accelerated the pace of digital in many ways, across many types of technologies.” They go on to say that “this is where we are starting to experience such a rapid pace of exponential change that it’s very difficult for most people to understand the progress” (MIT Technology Review Insights). Similarly, in 2021 NFTs burst forth in popularity in reaction to various conditions arising from the pandemic meta-crisis. A similar effect was seen around cryptocurrencies after the Global Financial Crisis (GFC) in 2007-2008 (Aliber and Zoega). “The popularity of cryptocurrencies represents in no small part a reaction to the financial crisis and austerity. That reaction takes the form of a retreat from conventional economic and political action and represents at least an economic occult” (Myers, Proof of Work 100). When a traumatic event occurs, like a pandemic, people turn to God, spirituality (Tumminio Hansen), or possibly the occult to look for answers. NFTs took on the role of precursor, promising access to untold riches, esoteric knowledge, and the comforting feeling of being part of the NFT cult. Similar to the effect of what Sutcliffe (15) calls spiritual “occultures” like “long-standing occult societies or New Age healers”, people can be lured by “the promise of secret knowledge”, which “can assist the deceptions of false gurus and create opportunities for cultic exploitation”. Conclusion NFTs are a metamodern spell casting, their popularity borne by the meta-crisis of the pandemic; they are made using magical instruction that oscillates between finance and conceptual abstraction, materialism and socialist idealism, financial ledger, and artistic medium. The metadata in the smart contract of the NFT provide instruction that combines the tangible and intangible. This oscillation, present in metamodern artmaking, creates and maintains a liminal space between these ideas, objects, and media. The in-between space allows for the perpetual transmutation of one thing to another. These ideas are a work in progress and additional exploration is necessary. An NFT is a new medium available to artists that does not physically exist but can be used to create meaning or to glue or hold objects together in a digital combine. Further investigation into the ontological aspects of this medium is required. The smart contract can be viewed as a recipe for the spell or incantation that, like instruction-based art, transforms an object from one thing to another. The blockchain that the NFT is housed in is a liminal space. The contract is stored on the threshold waiting for someone to view or purchase the NFT and turn the objects displayed in the gallery space into a digital combine. 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Introduction Cookbooks are more than recipes. They are valuable historical artifacts containing information about the food, culture and society that produced and used them (Driver, Theophano, Wheaton). This story is based on my first and failed attempt at using an old recipe to make a cheddar cheese. It examines the effect of changed technology on artisanal cooking practices (Supski, Giard) and how recipe writing has had to adapt to changed culinary technology. In the absence of the generational—mother to daughter—handing down of cooking practices, and an inherited understanding of traditional cooking techniques gained through practice over time, today’s recipes rely on clear written instructions, illustrations and demonstration for their success. Luce Giard’s discussion of women’s domestic work, and what she refers to as “memory of apprenticeship” (157), and the technological changes that interrupted artisanal food making, underpin the story. Using creative nonfiction this story invites the reader to appreciate how food and cooking are connected to our lives—from the local to the global, connecting food to remembering (Berzok), nostalgia (Duruz), and family relationships (Giard, Supski).My Cheddar CheeseWith their high degree of ritualization and their strong affective investment, culinary activities are for many women of all ages a place of happiness pleasure and discovery. Such life activities demand as much intelligence, imagination and memory as those traditionally held as superior, such as music and weaving (Giard 151). My first attempt at making a cheddar cheese started out as a culinary adventure—part nostalgia, part challenge and part boast. I had in mind the cloth wrapped cheddar cheese of my childhood. We called it mouse’s cheese, as even the mice preferred it to the Kraft cheddar cheese that came wrapped in foil and packaged in a box. My father would peel the cloth away from the round of cheese before cutting out a wedge from it. Then he would slice it, and lay it on buttered toast and grill it until it melted. Bubbles of cheesy oil slid off the sides of the toast, onto the bottom of the grill pan, where cold and crisp afterwards, I would pick them off and eat them. I think that it was this memory that drove my anticipation of the joy of actually making a cheese. The process not only connected me to this memory but also would give me the satisfaction of saying, “I made it myself.” Giard understood this pleasure, connecting it to the lives we lead today:when for so many people nothing remains at the end of the day except for the bitter wear and tear of so many dull hours, the preparation of a meal furnishes that rare joy of producing something oneself, of fashioning a ferment of reality, of knowing the joys of demiurgic miniaturization, all the while securing the gratitude of those who will consume it by way of pleasant and innocent seductions (158). The recipe came from a Country Women’s Association (CWA) cookbook first published in 1936 but republished with minor changes in 1982. It looked simple enough, and the fact that it was there, in amongst recipes for fresh cheeses and butter, gave me the confidence to simply follow the recipe. I would include it in a blog I had started about cooking from old recipe books. Making a cheese gave me the perfect opportunity to follow one recipe and report on its development over its six-week maturation. My followers, I thought, could come on this culinary journey with me. Day One: The Boast I am making a cheddar cheese from a CWA (Country Women’s Association) cookbook. This book, first published in 1936 has chapters on invalid cooking, household hints and a section called ‘Hints to Temper the Temper’. In the butter and cheese making section there is a recipe for a cheddar cheese. It looks so easy. Just a few ingredients: milk, rennet, salt and food colouring, and a few lines of instruction. A friend has fashioned a sort of cheese press for me—based on a picture of one we found on the internet. Yesterday I bought eight litres of organic milk and set to. The recipe is very simple: 1) Heat the milk to blood temperature, add nine rennet tablets and a teaspoon of cheese colouring. Leave it to set and harden and once that is done cut it into the curd and drain the whey off. 2) Once it is dry, add salt and turn it into a cheese press—lined with muslin—to start pressing all the excess moisture out by applying a bit more pressure each day. 3) Once all the moisture is pressed out it wrap it in waxed cheese cloth, set it in a cool place and turn it each day for six weeks.I am at the first stage and the whey is draining away. I think it will be another couple of days before I can start pressing it.In six weeks, I will have a cheese (Adams).Mary Shearer wrote in the foreword of this new 1982 edition of the original text, that the needs of the community had changed in fifty years of CWA service and this included a significant change to meet these needs, namely, a conversion of the recipes from imperial measurements to the metric system. But she expressed confidence that, with the tried recipes of many country women, “the universal appeal enjoyed since the first edition will be retained” (Foreword). Marjorie Maughan, who also wrote a message in the foreword, felt that “with the adaptability of women, the use of metric measures will be accomplished with ease and this edition will be as popular as ever.”Until I started, I had not considered failure. The recipe was included in a reliable cookery book that promised to have universal appeal and where the only possible challenge for cooks of its day would be its metric, rather than imperial, measurements. I was familiar with both metric and imperial—the only challenge mentioned in the foreword—and seduced by the simplicity of both the instructions and the ingredient list. I was soon to discover that my CWA recipe was full of omissions, assumptions, and errors.Cheese was traditionally made in many country kitchens as a way of preserving milk. The skill needed to make it was acquired through years of watching and learning. A written recipe was more of an aide memoire consisting of a list of ingredients and a few lines of simple instruction. To write recipes for today’s cooks, recipe writers usually work from test-kitchens and must include precise detail: their words are tested and edited until they are foolproof. Old recipes are full of assumed knowledge. They often lack details, leave out ingredients, do not provide measurements (or use measurements that are no longer in common usage, like a peck), and use equipment and ingredients that are no longer available or now have a different name. But as Giard writes, women are practiced at dealing with culinary challenges, “each meal demands the invention of an alternative mini-strategy when one ingredient or the appropriate utensil is lacking” (158). I soon found problems with the recipe. It called for eight litres (two gallons) new milk, a two and a half kilogram (five pound) jam tin (which would hold the cheese from six gallons of milk), salt, a teaspoon of cheese colouring, and one dessertspoon of rennet (or nine rennet tablets). What was new milk? What is cheese colouring? Where can I get rennet tablets? The recipe was imprecise: two and a half kilograms does not equate to five pounds. Where do I get a jam tin? I remember big tins of jam from my childhood but I was not sure jam was even packaged in tins these days. Why did I need a tin that would hold six gallons of milk when I only needed two gallons for this cheese? Yellow food colouring would be fine—perhaps with a drop of red to give a more orange tint to the finished cheese—and I found rennet tablets in the supermarket, but I was still unsure about the quantity of salt needed. My previously-quite-simple-recipe now had layers of complexity. There was no one I could ask, and I did not have Giard’s “memory of apprenticeship”:Yet, from the minute one becomes interested in the process of culinary production, one notices that it requires a multiple memory: a memory of apprenticeship, of witnessed gestures, and of consistencies, in order, for example, to identify the exact moment when the custard has begun to coat the back of a spoon and thus must be taken off the stove to prevent it from separating (157–58). I reasoned that if I just did exactly what the instructions said, it had to work: Warm the cheese to blood heat, add the cheese colouring and rennet and stir well. Cover with a cloth to keep in the heat. When the curd is set and firm, cut through and through with a large knife to release the whey. Dip the whey off with a saucer, pressing the curd while doing so. Drain off all the whey and when fairly dry crumble the curd and add salt to taste—about 2 teaspoons should be about sufficient (CWA 342).How hot is blood heat and do I need a thermometer? How much cheese colouring do I need? How firm is firm? How many “through and through” cuts should I make? How dry is “fairly dry”? With my cheese now doomed to fail, I searched for The Australian Dairy Board on the Internet looking for some answers. In a modern cheese factory, to ensure the cheese composition is uniform, milk is standardised: stripped then re-made with all its fats and proteins adjusted to the right proportion, although some small cheese makers do not standardise their milk. Then this milk is pasteurised to destroy all disease making micro-organisms, make the cheese safe to eat, and improve its quality. Cheese starter cultures are used (there was no mention of these in my CWA recipe) and once the milk coagulates and is cut to release the whey, it has to be stirred to release more whey. The length of time the curds are stirred is important in the process as it influences the type of cheese that was made.The women who followed my CWA recipe would have dipped a finger into the milk to test its temperature, tasted the curds for salt, and known when the colour was right. They would have just known when the cheese was pressed enough to wrap in the waxed cloth. They would have covered their day clothes with an apron—protecting their clothes from spills—rather than protecting the cheese from contamination. There would be no sterile gloves, white coats, hairnets, or thermometers in their kitchens. If I had been able to ask them questions their answer would have been, “it is done this way because it has always been done more or less like that” (Giard 171).My cheese was both lacking in salt and very pale. Perhaps, I thought, the flavour would intensify and it would darken during the maturation process. If it stayed this colour it would be the same creamy white as an English Wensleydale cheddar rather than the eggnog-coloured mouse cheeses of my childhood. The cheese press was my inspired “mini-strategy” and one step away from being experimental. It was made from 1) the back of a plastic clipboard with holes drilled into it, 2) a piece of agricultural pipe, 3) a flat circular disk of metal the same diameter as the inside of the agricultural pipe attached to a long screw, to add pressure to the cheese and, 4) a handle which allowed me to screw the piece of metal onto the top of the cheese to apply pressure and weight. I was excited to try it and I pushed on: "Line a cheese press with the cheesecloth, pack the curd into it and fold the cloth over the top. Put on a lid—a saucer that will fit in the tin will do very well—place a 3 kg (6 lb.) weight on top and press for 12 hours" (CWA: 343).I had more questions. Should I put the weighted cheese in the refrigerator for the twelve hours whilst it drained or would it be fine on the bench overnight? Three kilograms does not equal six pounds but this probably didn’t matter as I was using a press and not weights. Somewhat intuitively, I decided to leave it overnight on the bench. It was winter after all and the house would be cold once the heating went off automatically at 10.00 pm. I crossed my fingers, wrote about it in my blog and posted some pictures.Day Three: Emerging DoubtsI have just salted the cheese and put it into the press for seven days. Each day I have to increase the weight and change the cheesecloth. It’s a bit smelly …I sourced wax for the next stage and it arrived in the post today. I will keep rewrapping and pressing until the weekend then I will wax it and put it away until it matures.I am a little worried that I did not salt it enough. The recipe said two teaspoons and I wonder if it meant tablespoons. Time will tell (Adams). At this point things started to go very wrong. The cheese smelled off. Perhaps I had ruined my cheese right at the start when I left it out on the bench for its first overnight pressing. Maybe it should have been in the refrigerator. I should have added more salt. There was nothing to do but to keep going and see what happened. I could learn from mistakes, reflect on the process, and try again if it did not work. There was still the possibility that it would work; although the smell in the ’fridge suggested otherwise. Once it was coated in wax, I reasoned, it could not smell.After seven days of pressing, the cheese was now ready to be wiped well, dried, wrapped in buttered muslin, and stored in a cool place for two weeks, and turned every day. I used cheese wax instead of buttered muslin and put it in the refrigerator.The final words from CWA were: "The cheese will be ready in about six weeks, but is better if kept for three months. (A press may be made out of [the] jam tin. The bottom must be punctured, and holes punched around the tin). A wooden press is best" (342).My final words were, "Day-Seven: Failure" (Adams).I was a tad impatient and very concerned about the smell so I waxed the cheese a couple of days early and it is now stashed away in the fridge. (Sealing it in wax should stop it stinking out the fridge!) I have to turn it each day for two weeks then leave it for six. My cheese is either slowly maturing or rotting. The wax has sprung leaks and the clear liquid coming out does not smell good … but I will keep turning it daily for another four weeks (Adams).The Dairy Board instructions dictated that maturation takes place in temperature controlled cool rooms and that cheddar requires a temperature of between 8 and 10˚C for three to twenty-four months. During maturation the enzymes in the cheese break down the fats and proteins allowing the textural and flavour characteristics of the cheese to develop. My cheese sat in the refrigerator (I have no idea what the temperature is set at), where I duly turned it every day. After five weeks the stench in the refrigerator was no longer bearable as the smelly liquid had started to ooze out of the wax. I took it out and cut into it. Beneath its wax-coating my cheese had matured into a stinking mass of soft, oyster-coloured crumbly curds. I binned it, without so much as a taste. Final Post: Know Your Limitations I did make a little goat cheese and that was pretty delicious. I used the same method but I pressed it lightly for a day then wrapped it in greaseproof paper and left it in the fridge. We ate it fresh the next day (Adams).This experiment helped me realise that today’s recipe books contain detailed instructions because the knowledge of cookbook writers, including how to utilise the available technology, has to be conveyed to the reader following their recipes. Such clear instructions are necessary now, whereas in the past, cooks were drawing on skills and knowledge they either had, or could draw on other knowledge sources and networks to gain. I have not given up on making cheddar cheese. I still have the cheese press and some wax, and the cheesecloth I used is washed and folded in the cupboard. Before I do try again, however, I will consult a modern cookbook or book myself into a cheesemaking course and learn from someone who has the skills I need.References Adams. Jill. First Catch a Chicken. 2011. 1 May 2013 ‹http://firstcatchachicken.wordpress.com›.Berzok, Linda Murray. Storied Dishes: What Our Family Recipes Tell Us About Who We Are and Where We’ve Been. Oxford: Praeger, 2011.Country Women’s Association Western Australia Inc. The C.W.A. Cookery Book and Household Hints. 36th ed. Perth: Wigg, 1982.Dairy Australia. “Cheesmaking.” 2013. 20 Jan. 2013 ‹http://www.dairyaustralia.com.au/Dairy-food-and-recipes/Dairy-Products/Cheese/Cheesemaking.aspx›.De Certeau, Giard, Luce, and Mayol, Pierre. The Practice of Everyday Life Vol. 2: Living and Cooking. Minneapolis: U of Minnesota P, 1998.Driver, Elizabeth. “Cookbooks as Primary Sources for Writing History.” Food, Culture & Society 12.3 (2009): 257–74.Duruz, Jean. “Food as Nostalgia: Eating in the Fifties and Sixties.” Australian Historical Studies 113 (1999): 231–50.Supski, Sian. “‘We still mourn that book’: Cookbooks, Recipes and Foodmaking Knowledge in 1950’s Australia.” Journal of Australian Studies 28.84 (2005): 85–94.Theophano, Janet. Eat My Words: Reading Women’s Lives Through the Cookbooks They Wrote. New York: Palgrave, 2002.Wheaton, Barbara. Savoring the Past: The French Kitchen and Table from 1300 to 1789. New York: Touchstone / Simon and Schuster, 1983.

Introduction In a 2019 report for the International Journal of Communication, Baym et al. positioned distributed blockchain ledger technology, and what would subsequently be referred to as Web3, as a convening technology. Riffing off Barnett, a convening technology “initiates and serves as the focus of a conversation that can address issues far beyond what it may ultimately be able to address itself” (403). The case studies for the Baym et al. research—early, aspirant projects applying the blockchain concept to music publishing and distribution—are described in the piece as speculations or provocations concerning music’s commercial and social future. What is convened in this era (pre-2017 blockchain music discourse and practice) is the potential for change: a type of widespread, broadly discussed, reimagination of the 21st-century music industries, productive precisely because near-future applications suggest the realisation of what Baym et al. call dreams. In this article, we aim to examine the Web3 music field as it lies some years later. Taking the latter half of 2021 as our subject, we present a survey of where music then resided within Web3, focussing on how the dreams of Baym et al. have morphed and evolved, and materialised and declined, in the intervening years. By investigating the discourse and functionality of 2021’s current crop of music NFTs—just one thread of music Web3’s far-reaching aspiration, but a potent and accessible manifestation nonetheless—we can make a detailed analysis of concept-led application. Volatility remains throughout the broader sector, and all of the projects listed here could be read as conditionally short-term and untested, but what they represent is a series of clearly evolved case studies of the dream, rich precisely because of what is assumed and disregarded. WTF Is an NFT? Non-fungible tokens inscribe indelible, unique ledger entries on a blockchain, detailing ownership of, or rights associated with, assets that exist off-chain. Many NFTs take the form of an ERC-721 smart-contract that functions as an indivisible token on the Ethereum blockchain. Although all ERC-721 tokens are NFTs, the inverse is not true. Similar standards exist on other blockchains, and bridges allow these tokens to be created on alternative networks such as Polygon, Solana, WAX, Cardano and Tezos. The creation (minting) and transfer of ownership on the Ethereum network—by far the dominant chain—comes with a significant and volatile transaction cost, by way of gas fees. Thus, even a “free” transaction on the main NFT network requires a currency and time investment that far outweighs the everyday routines of fiat exchange. On a technical level, the original proposal for the ERC-721 standard refers to NFTs as deeds intended to represent ownership of digital and physical assets like houses, virtual collectibles, and negative value assets such as loans (Entriken et al.). The details of these assets can be encoded as metadata, such as the name and description of the asset including a URI that typically points to either a file somewhere on the Internet or a file hosted via IPFS, a decentralised peer-to-peer hosting network. As noted in the standard, while the data inscribed on-chain are immutable, the asset being referred to is not. Similarly, while each NFT is unique, multiple NFTs could, in theory, point to a single asset. In this respect ERC-721 tokens are different from cryptocurrencies and other tokens like stable-coins in that their value is often contingent on their accurate and ongoing association with assets outside of the blockchain on which they are traded. Further complicating matters, it is often unclear if and how NFTs confer ownership of digital assets with respect to legislative or common law. NFTs rarely include any information relating to licencing or rights transfer, and high-profile NFTs such as Bored Ape Yacht Club appear to be governed by licencing terms held off-chain (Bored Ape Yacht Club). Finally, while it is possible to inscribe any kind of data, including audio, into an NFT, the ERC-721 standard and the underpinning blockchains were not designed to host multimedia content. At the time of writing, storing even a low-bandwidth stereo audio file on the ethereum network appears cost-prohibitive. This presents a challenge for how music NFTs distinguish themselves in a marketplace dominated by visual works. The following sections of this article are divided into what we consider to be the general use cases for NFTs within music in 2021. We’ve designated three overlapping cases: audience investment, music ownership, and audience and business services. Audience Investment Significant discourse around NFTs focusses on digital collectibles and artwork that are conceptually, but not functionally, unique. Huge amounts of money have changed hands for specific—often celebrity brand-led—creations, resulting in media cycles of hype and derision. The high value of these NFTs has been variously ascribed to their high novelty value, scarcity, the adoption of NFTs as speculative assets by investors, and the lack of regulatory oversight allowing for price inflation via practices such as wash-trading (Madeline; Das et al.; Cong et al.; Le Pennec, Fielder, and Ante; Fazil, Owfi, and Taesiri). We see here the initial traditional split of discourse around cultural activity within a new medium: dual narratives of utopianism and dystopianism. Regardless of the discursive frame, activity has grown steadily since stories reporting the failure of Blockchain to deliver on its hype began appearing in 2017 (Ellul). Early coverage around blockchain, music, and NFTs echoes this capacity to leverage artificial scarcity via the creation of unique digital assets (cf Heap; Tomaino). As NFTs have developed, this discourse has become more nuanced, arguing that creators are now able to exploit both ownership and abundance. However, for the most part, music NFTs have essentially adopted the form of digital artworks and collectibles in editions ranging from 1:1 or 1:1000+. Grimes’s February 2021 Mars NFT pointed to a 32-second rotating animation of a sword-wielding cherubim above the planet Mars, accompanied by a musical cue (Grimes). Mars sold 388 NFTs for a reported fixed price of $7.5k each, grossing $2,910,000 at time of minting. By contrast, electronic artists Steve Aoki and Don Diablo have both released 1:1 NFT editions that have been auctioned via Sotheby’s, Superrare, and Nifty Gateway. Interestingly, these works have been bundled with physical goods; Diablo’s Destination Hexagonia, which sold for 600 Eth or approximately US$1.2 million at the time of sale, proffered ownership of a bespoke one-hour film hosted online, along with “a unique hand-crafted box, which includes a hard drive that contains the only copy of the high-quality file of the film” (Diablo). Aoki’s Hairy was much less elaborate but still promised to provide the winner of the $888,888 auction with a copy of the 35-second video of a fur-covered face shaking in time to downbeat electronica as an Infinite Objects video print (Aoki). In the first half of 2021, similar projects from high-profile artists including Deadmau5, The Weekend, Snoop Dogg, Eminem, Blondie, and 3Lau have generated an extraordinary amount of money leading to a significant, and understandable, appetite from musicians wanting to engage in this marketplace. Many of these artists and the platforms that have enabled their sales have lauded the potential for NFTs to address an alleged poor remuneration of artists from streaming and/or bypassing “industry middlemen” (cf. Sounds.xyz); the millions of dollars generated by sales of these NFTs presents a compelling case for exploring these new markets irrespective of risk and volatility. However, other artists have expressed reservations and/or received pushback on entry into the NFT marketplace due to concerns over the environmental impact of NFTs; volatility; and a perception of NFT markets as Ponzi schemes (Poleg), insecure (Goodin), exploitative (Purtill), or scammy (Dash). As of late 2021, increased reportage began to highlight unauthorised or fraudulent NFT minting (cf. TFL; Stephen), including in music (Newstead). However, the number of contested NFTs remains marginal in comparison to the volume of exchange that occurs in the space daily. OpenSea alone oversaw over US$2.5 billion worth of transactions per month. For the most part, online NFT marketplaces like OpenSea and Solanart oversee the exchange of products on terms not dissimilar to other large online retailers; the space is still resolutely emergent and there is much debate about what products, including recently delisted pro-Nazi and Alt-Right-related NFTs, are socially and commercially acceptable (cf. Pearson; Redman). Further, there are signs this trend may impact on both the willingness and capacity of rightsholders to engage with NFTs, particularly where official offerings are competing with extant fraudulent or illegitimate ones. Despite this, at the time of writing the NFT market as a whole does not appear prone to this type of obstruction. What remains complicated is the contested relationship between NFTs, copyrights, and ownership of the assets they represent. This is further complicated by tension between the claims of blockchain’s independence from existing regulatory structures, and the actual legal recourse available to music rights holders. Music Rights and Ownership Baym et al. note that addressing the problems of rights management and metadata is one of the important discussions around music convened by early blockchain projects. While they posit that “our point is not whether blockchain can or can’t fix the problems the music industries face” (403), for some professionals, the blockchain’s promise of eliminating the need for trust seemed to provide an ideal solution to a widely acknowledged business-to-business problem: one of poor metadata leading to unclaimed royalties accumulating in “black boxes”, particularly in the case of misattributed mechanical royalties in the USA (Rethink Music Initiative). As outlined in their influential institutional research paper (partnered with music rights disruptor Kobalt), the Rethink Music Initiative implied that incumbent intermediaries were benefiting from this opacity, incentivising them to avoid transparency and a centralised rights management database. This frame provides a key example of one politicised version of “fairness”, directly challenging the interest of entrenched powers and status quo systems. Also present in the space is a more pragmatic approach which sees problems of metadata and rights flows as the result of human error which can be remedied with the proper technological intervention. O’Dair and Beaven argue that blockchain presents an opportunity to eliminate the need for trust which has hampered efforts to create a global standard database of rights ownership, while music business researcher Opal Gough offers a more sober overview of how decentralised ledgers can streamline processes, remove inefficiencies, and improve cash flow, without relying on the moral angle of powerful incumbents holding on to control accounts and hindering progress. In the intervening two years, this discourse has shifted from transparency (cf. Taghdiri) to a practical narrative of reducing system friction and solving problems on the one hand—embodied by Paperchain, see Carnevali —and ethical claims reliant on the concept of fairness on the other—exemplified by Resonate—but with, so far, limited widespread impact. The notion that the need for b2b collaboration on royalty flows can be successfully bypassed through a “trustless” blockchain is currently being tested. While these earlier projects were attempts to either circumvent or fix problems facing the traditional rights holders, with the advent of the NFT in particular, novel ownership structures have reconfigured the concept of a rights holder. NFTs promise fans an opportunity to not just own a personal copy of a recording or even a digitally unique version, but to share in the ownership of the actual property rights, a role previously reserved for record labels and music publishers. New NFT models have only recently launched which offer fans a share of IP revenue. “Collectors can buy royalty ownership in songs directly from their favorite artists in the form of tokens” through the service Royal. Services such as Royal and Vezt represent potentially massive cultural shifts in the traditional separation between consumers and investors; they also present possible new headaches and adventures for accountants and legal teams. The issues noted by Baym et al. are still present, and the range of new entrants into this space risks the proliferation, rather than consolidation, of metadata standards and a need to put money into multiple blockchain ecosystems. As noted in RMIT’s blockchain report, missing royalty payments … would suggest the answer to “does it need a blockchain?” is yes (although further research is needed). However, it is not clear that the blockchain economy will progress beyond the margins through natural market forces. Some level of industry coordination may still be required. (18) Beyond the initial questions of whether system friction can be eased and standards generated without industry cooperation lie deeper philosophical issues of what will happen when fans are directly incentivised to promote recordings and artist brands as financial investors. With regard to royalty distribution, the exact role that NFTs would play in the ownership and exploitation of song IP remains conceptual rather than concrete. Even the emergent use cases are suggestive and experimental, often leaning heavily on off-chain terms, goodwill and the unknown role of existing legal infrastructure. Audience and Business Services Aside from the more high-profile NFT cases which focus on the digital object as an artwork providing a source of value, other systemic uses of NFTs are emerging. Both audience and business services are—to varying degrees—explorations of the utility of NFTs as a community token: i.e. digital commodities that have a market value, but also unlock ancillary community interaction. The music industries have a longstanding relationship with the sale of exclusivity and access tailored to experiential products. Historically, one of music’s most profitable commodities—the concert ticket—contains very little intrinsic value, but unlocks a hugely desirable extrinsic experience. As such, NFTs have already found adoption as tools of music exclusivity; as gateways into fan experiences, digital communities, live events ticketing and closed distribution. One case study incorporating almost all of these threads is the Deathbats club by American heavy metal band Avenged Sevenfold. Conceived of as the “ultimate fan club”, Deathbats is, according to the band’s singer M. Shadows, “every single thing that [fans] want from us, which is our time, our energy” (Chan). At the time of writing, the Deathbats NFT had experienced expected volatility, but maintained a 30-day average sale price well above launch price. A second affordance provided by music NFTs’ ability to tokenise community is the application of this to music businesses in the form of music DAOs: decentralised autonomous organisations. DAOs and NFTs have so far intersected in a number of ways. DAOs function as digital entities that are owned by their members. They utilise smart contracts to record protocols, votes, and transactions on the blockchain. Bitcoin and Ethereum are often considered the first DAOs of note, serving as board-less venture capital funds, also known as treasuries, that cannot be accessed without the consensus of their members. More recently, DAOs have been co-opted by online communities of shared interests, who work towards an agreed goal, and operate without the need for leadership. Often, access to DAO membership is tokenised, and the more tokens a member has, the more voting rights they possess. All proposals must pass before members, and have been voted for by the majority in order to be enacted, though voting systems differ between DAOs. Proposals must also comply with the DAO’s regulations and protocols. DAOs typically gather in online spaces such as Discord and Zoom, and utilise messaging services such as Telegram. Decentralised apps (dapps) have been developed to facilitate DAO activities such as voting systems and treasury management. Collective ownership of digital assets (in the form of NFTs) has become commonplace within DAOs. Flamingo DAO and PleasrDAO are two well-established and influential examples. The “crypto-backed social club” Friends with Benefits (membership costs between $5,000 and $10,000) serves as a “music discovery platform, an online publication, a startup incubator and a kind of Bloomberg terminal for crypto investors” (Gottsegen), and is now hosting its own curated NFT art platform with work by the likes of Pussy Riot. Musical and cross-disciplinary artists and communities are also exploring the potential of DAOs to empower, activate, and incentivise their communities as an extension of, or in addition to, their adoption and exploration of NFTs. In collaboration with Never Before Heard Sounds, electronic artist and musical pioneer Holly Herndon is exploring ideological questions raised by the growing intelligence of AI to create digital likeness and cloning through voice models. Holly+ is a custom voice instrument that allows users to process pre-existing polyphonic audio through a deep neural network trained by recordings of Holly Herndon’s voice. The output is audio-processed through Holly Herndon’s distinct vocal sound. Users can submit their resulting audio to the Holly+ DAO, to whom she has distributed ownership of her digital likeness. DAO token-holders steward which audio is minted and certified as an NFT, ensuring quality control and only good use of her digital likeness. DAO token-holders are entitled to a percentage of profit from resales in perpetuity, thereby incentivising informed and active stewardship of her digital likeness (Herndon). Another example is LA-based label Leaving Records, which has created GENRE DAO to explore and experiment with new levels of ownership and empowerment for their pre-existing community of artists, friends, and supporters. They have created a community token—$GENRE—for which they intend a number of uses, such as “a symbol of equitable growth, a badge of solidarity, a governance token, currency to buy NFTs, or as a utility to unlock token-gated communities” (Leaving Records). Taken as a whole, the spectrum of affordances and use cases presented by music NFTs can be viewed as a build-up of interest and capital around the technology. Conclusion The last half of 2021 was a moment of intense experimentation in the realms of music business administration and cultural expression, and at the time of writing, each week seemed to bring a new high-profile music Web3 project and/or disaster. Narratives of emancipation and domination under capitalism continue to drive our discussions around music and technology, and the direct link to debates on ecology and financialisation make these conversations particularly polarising. High-profile cases of music projects that overstep norms of existing IP rights, such as Hitpiece’s attempt to generate NFTs of songs without right-holders’ consent, point to the ways in which this technology is portrayed as threatening and subversive to commercial musicians (Blistein). Meanwhile, the Water and Music research DAO promises to incentivise a research community to “empower music-industry professionals with the knowledge, network and skills to do more collaborative and progressive work with technology” through NFT tokens and a DAO organisational structure (Hu et al.). The assumption in many early narratives of the ability of blockchain to provide systems of remuneration that musicians would embrace as inherently fairer is far from the reality of a popular discourse marked by increasing disdain and distrust, currently centred on NFTs as lacking in artistic merit, or even as harmful. We have seen all this talk before, of course, when jukeboxes and player pianos, film synchronisation, radio, recording, and other new communication technologies steered new paths for commercial musicians and promised magical futures. All of these innovations were met with intense scrutiny, cries of inauthentic practice, and resistance by incumbent musicians, but all were eventually sustained by the emergence of new forms of musical expression that captured the interest of the public. On the other hand, the road towards musical nirvana passes by not only the more prominent corpses of the Digital Audio Tape, SuperAudio, and countless recording formats, but if you squint and remember that technology is not always about devices or media, you can see the Secure Download Music Initiative, PressPlay, the International Music Registry, and Global Repertoire Databases in the distance, wondering if blockchain might correct some of the problems they dreamed of solving in their day. The NFT presents the artistic and cultural face of this dream of a musical future, and of course we are first seeing the emergence of old models within its contours. 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Introduction Since the early 2000s, and especially since the onset of COVID-19 and long periods of lockdown, board games have seen a revival in popularity. The increasing popularity of board games are part of what Julie Lennett, a toy industry analyst at NPD Group, describes as the “nesting trend”: families have more access to entertainment at home and are eschewing expensive nights out (cited in Birkner 7). While on-demand television is a significant factor in this trend, for Moriaty and Kay (6), who wouldn’t “welcome [the] chance to turn away from their screens” to seek the “warmth and connection you get from playing games with live human family and friends?” For others, playing board games can simply be about nostalgia. Board games have a long history not specific to one period, geography, or culture. Likely board games were developed to do two things – teach and entertain. This remains the case today. Historically, miniature versions of battles or hunts were played out in what we might recognise today as a board game. Trade, war, and science impacted on their development, as did the printing press, which allowed for the standardisation of rules. Chess had many variations prior to the fifteenth century. Similarly, the Industrial Revolution allowed for the mass production of board games, boosting their popularity across nations, class, and age (Walker 13). Today, regardless of or because of our digital lives, we are in a “board game renaissance” (Booth 1). Still played on rainy days, weekends, and holidays, we now also play board games in dedicated game board cafés like the Haunted Game Café in America, the Snakes and Lattes in Canada, or the Mind Café in Singapore. In the board game café Draughts in the UK, customers pay £5 to select and play one of 800 board games, including classics like Monopoly and Cluedo. These cafes are important as they are “helping manufacturers to understand the kind of games that appeal to the larger section of players” (Atrizton). COVID-19 caused board game sales to increase. The global market was predicted to increase by US$1 billion in 2021, compared to 2020 (Jarvis). Total sales of board games in Australia are expected to reach AU$86 million in 2023, an almost 10 per cent increase from the preceding year (Statista "Board Games – Australia"). The emergence of Kickstarter, a global crowdfunding platform which funds new board games, is filling the gap in the contemporary board game market, with board games generating 20 per cent of the total funding raised (Carter). Board games are predicted to continue to grow, with the global market revenue record at US$19 billion dollars in 2022, a figure that is expected to rise to US$40 billion within 6 years (Atrizton). If the current turn towards board games represents a desire to escape from the digital world, the Internet is also contributing to the renaissance. Ex-Star Trek actor Wil Wheaton hosts the popular Web series TableTop, in which each episode explains a board game that is then played, usually with celebrities. The Internet also provides “communities” in which fans can share their enthusiasm, be it as geek culture or cult fandom (Booth 2). Booth provides an eloquent explanation, however, for the allure of face-to-face board games: “they remind us of our face-to-face past, and recall a type of pre-digital luddism where we can circle around the ‘campfire’ of the game board” (Booth 1-2). What makes a board game successful is harder to define. Phillip Orbanes, an American game designer and former vice-president of research and development at Parker Brothers, has attempted to elucidate the factors that make a good board game: “make the rules simple and unambiguous … don’t frustrate the casual player … establish a rhythm … focus on what’s happening off the board … give ‘em chances to come from behind … [and] provide outlets for latent talents” (Orbanes 52-55). Orbanes also says it is important to understand that what “happens off the board is just as important to the experience as the physical game itself” (Orbanes 51). Tristan Donovan contends that there are four broad stages of modern board games, beginning with the folk era when games had no fixed author, their rules were mutable, and local communities adapted the game to suit their sensibilities. Chess is an example of this, with the game only receiving the fixed rules we know today when tournaments and organisations saw the need for a singular set of rules. Mass production of games was the second stage, marking “the single biggest shift in board game history – a total flip in how people understood, experienced and played board games. Games were no long[er] malleable objects owned by the commons, but products created usually in the pursuit of profit” (Donovan 267). An even more recent development in game boards was the introduction of mass produced plastics, which reduced the cost of board game construction and allowed for a wider range of games to be produced. This was particularly evident in the post-war period. Games today are often thought of as global, which allows gamers to discover games from other regions and cultures, such as Catan (Klaus Teuber, 1995), a German game that may not have enjoyed its immense success if it were not for the Internet. Board game players are broadly categorised into two classes: the casual gamer and the hobby or serious gamer (Rogerson and Gibbs). The most popular game from the mass production era is Monopoly, the focus of this article. The History of Monopoly Monopoly was designed and patented by American Elizabeth Magie (1866-1948) in 1902, and was originally called The Landlord’s Game. The game was based on the anti-monopoly taxation principles of Henry George (1839-1897), who argued that people should own 100 per cent of what they make and the land should belong to everyone. Land ownership, considered George, only benefitted land owners, and forces working people to pay exorbitant rent. Magie’s original version of the game was designed to demonstrate how rents enrich property owners and impoverish tenants. Renters in Australia’s property market today may recognise this side of ruthless capitalism. In 1959 Fidel Castro thought Monopoly “sufficiently redolent of capitalism” that he “ordered the ­destruction of every Monopoly set in Cuba” (McManus). Magie, however, was not credited with being the original inventor of Monopoly: rather, this credit was given to Charles Darrow. In 2014, the book The Monopolist: Obsession, Fury, and the Scandal behind the World's Favorite Board Game by Mary Pilon re-established Magie as the inventor of Monopoly, with her role and identity unearthed by American Ralph Anspach (1926-2022), an Adam Smith economist, Polish-German refugee, and anti-Vietnam protestor. According to Pilon, Magie, a suffragette and progressive economic and political thinker, was a Georgist advocate, particularly of his anti-monopolist policies, and it was this that informed her game’s narrative. An unmarried daughter of Scottish immigrants, she was a Washington homeowner, familiar with the grid-like street structure of the national capital. Magie left school at 13 to help support her family who were adversely impacted upon by the Panic of 1873, which saw economic collapse because of falling silver prices, railroad speculation, and property losses. She worked as a stenographer and teacher of Georgist single tax theory. Seeking a broader platform for her economic ideas, and with the growing popularity of board games in middle class homes, in 1904 Magie secured a patent for The Landlord’s Game, at a time when women only held 1 per cent of US patents (Pilon). The original game included deeds and play money and required players to earn wages via labour and pay taxes. The board provided a circular path (as opposed to the common linear path) in which players circled through rental properties and railroads, and could acquire food, with natural reserves (oil, coal, farms, and forests) unable to be monopolised. However, she created two sets of rules – the monopoly rules familiar to today’s players, and anti-monopoly rules in which tensions over human greed and altruism could be played out by participants. Magie started her own New York firm to manufacture and distribute the game, continued the struggle for women’s equality, and raged against wealthy monopolists of the day such as Andrew Carnegie (Pilon). By the late 1920, the game, mostly referred to as the ‘monopoly’ game, was popular, but many who played the game were playing handmade versions, likely unaware of the original Landlord’s Game. In 1931, mass-produced versions of the game, now titled Finance, began to appear, with some changes, including the ability to purchase properties, along with rule books. Occurring at the same time as the emergence of fixed-price goods in large department stores, the game, which now included chance cards, continued to be popular. It was Charles Darrow who sold Monopoly to Parker Brothers, even if he did not invent it. Darrow was introduced to one of the variants of the game and became obsessed with the game, which now featured the Community Chest and Free Parking, but his version did not have a set of rules. An unemployed ex-serviceman with no college education, Darrow struggled to provide for his family. By 1932, America was in the grip of the Great Depression, with housing prices collapsing and squatting common in large American cities. Befriending an artist, Darrow sought to provide a more dynamic and professional version of the game and complete it with a set of rules. In 1933, Darrow marketed his version of the game, titled Mr Monopoly, and it was purchased by Parker Brothers for US$7,000 in 1935. Magie received just US $500 (Farzan). Monopoly, as it was rebranded, was initial sold for $2 a game, and Parker Brothers sold 278,000 games in the first year. In 1936, consumers purchased 1.7 million editions of the game, generating millions of dollars in profits for Parker Brothers, who prior to Monopoly were on the brink of collapse (Pilon). Mary Pilon’s The Monopolists also reveals the struggle of Ralph Anspach in the 1970s to sell his Anti-Monopoly board games, which Parker Brothers fought in the courts. Anspach’s game sought to undermine the power of capitalist monopolies, which he had witnessed directly and negatively impact on fuel prices in America in the early 1970s. Hence the aim was to produce a game with an anti-monopolist narrative grounded in the free-market thinking of Adam Smith. Players were rewarded by breaking monopoly ownerships of utilities such as railroads and energy and metal reserves. In preparing his case against Parker Brothers, Anspach “accidentally discovered the true history of the game”, which began with Magie’s Landlord’s Game. Magie herself had battled with Parker Brothers in order to be “credited as the real originator of the game” and, like Anspach, reveal how Parker Brothers had changed the anti-capitalist narrative of the game, making it the “exact opposite” of its original aims (Landlordsgame). Anspach’s court room version of his battle with Parker Brothers was published in 2000, titled Monopolygate: During a David and Goliath Battle, the Inventor of the Anti-Monopoly® Game Uncovers the Secret History of Monopoly®. Monopoly Today Monopoly is now produced by Hasbro. It is the highest selling board game of all time, with an estimated 275 million units of Monopoly sold (Lee). Fan bases are clearly large too: the official Monopoly Facebook accounts report 9.9m likes (Facebook), and 68% of American households report owning a version of Monopoly (Statista "Which"). At the end of the twentieth century it was estimated that 550 million, or one in 12 people worldwide, had played the game (Guinness World Records "Most Popular"). Today it is estimated that Monopoly has been played by more than one billion people, and the digital Monopoly version has had over 100 million downloads (Johnson). The ability to play beloved board games with a computer opponent or with other players via the Internet arguably adds to the longevity of classic board games such as Monopoly. Yet research shows that despite Monopoly being widely owned, it is often not played as much as other games in people’s homes (d'Astous and Gagnon 84). D’Astous and Gagnon found that players in their study chose Monopoly to play on average six times a year, less than half the times they played Cluedo (13 times a year) or Scrabble (15 times). As Michael Whelan points out, Magie’s original goal was to make a statement about capitalism and landlords: a single player would progress round the board building an empire, whilst the others were doomed to slowly descend into bankruptcy. It was “never meant to be fun for anyone but the winner” (Whelan). Despite Monopoly’s longevity and impressive sales record, it is perhaps paradoxical to find that it is not a particularly popular or enjoyed game. Board Game Geek, the popular board game Website, reports in 2023 that the average rating for Monopoly by over 33,000 members is just 4.4 out of 10, and is ranked the 23,834th most popular game on the site (Board Game Geek). This is mirrored in academic studies: for example, when examining Orbane’s tenets for a good board game, d’Astous and Gagnon (84) found that players' appreciation of Monopoly was generally low. Not only is appreciation low for the game itself, it is also low for player antics during the game. A 2021 survey found that Monopoly causes the most fights, with 20% of households reporting “their game nights with friends or family members are often or always disrupted by competitive or unfriendly behaviour”, leading to players or even the game itself being banned (Lemore). Clearly Orbane’s tenet that the game “generates fun” is missing here (Orbanes 52). Commentators ask why Monopoly remains the best-selling board game of all time when the game has the “astonishing ability to sow seeds of discord” (Berical). Despite the claims that playing Monopoly causes disharmony, the game does allow for player agency. Perhaps more than any other board game, Monopoly is subjected to ‘house rules’. Buzzfeed reported 15 common house rules that many people think are official rules. In 2014 the official Monopoly Facebook page posted a video claiming that “68% of Americans have never read the official game rules” and that “49% of Americans had admitted to playing with their own ‘house rules’”. A look through these rules reveals that players are often trying to restore the balance of power in the game, or in other words increase the chance that a player can win. Hasbro has embraced these rules by incorporating some of them into the official rules. By incorporating players' amendments to the game, Hasbro can keep the Monopoly relevant. In another instance, Hasbro asked fans to vote on new tokens, which led to the thimble token being replaced with a Tyrannosaurus Rex. This was reversed in 2022 when nostalgic fans lobbied for the thimble’s return. Hasbro has also been an innovator by creating special rules for individual editions: for example, the Longest Game Ever edition (2019) slows players down by using only a single dice and has an extended game board. This demonstrates that Hasbro is keen to innovate and evolve the game to meet player expectations. Innovation and responsiveness to fans is one way that Hasbro has maintained Monopoly’s position as highest-selling board game. The only place the original Monopoly rules seem to be played intact are at the official competitions. Collecting and Nostalgia The characteristics of Monopoly allow for a seemingly infinite number of permutations. The places on the board can be real or fictional, making it easily adaptable to accommodate different environments. This is a factor in Monopoly’s longevity. The number of Monopoly editions are endless, with BoardGameGeek listing over 1,300 versions of the game on its site. Monopoly editions range from collector and commemorative editions to music, television, and film versions, actor-based editions, sports club editions, editions tied to toy franchises, animal lover editions, country editions, city editions, holiday editions, car brand editions, motor bike editions, as well as editions such as Monopoly Space, editions branded to popular confectionary, Ms Monopoly, and Go Green Monopoly. Each of these contain their own unique modifications. The Go Green version includes greenhouses, dice are made from FSC-certified wood from well-managed forests, tokens are made with plant-based plastic derived from sugarcane, a renewable raw material, and players can vie to have monopolistic control over renewable energy firms, solar farms, and bike paths. Licencing agreements allows Hasbro to leverage two sets of popular culture fans and collectors simultaneously: fans of Monopoly and its different versions, and fans of the Monopoly branded collectable, such as the Elvis Collector’s edition and Breaking Bad Monopoly. Apart from licencing, what else explains the longevity of Monopoly? Fred Davis demonstrates that nostalgia is an important sociological phenomenon, allowing consumers to re-imagine the past via iconic items including toys. Generation Y, also known as Millennials or digital natives, a cohort born between 1982 and 1994 who have grown up with technology as part of their everyday lives, are particularly interested in ‘heritage-inspired’ goods (Marchegiani and Phau). These consumers enjoy the past with a critical eye, drawn by the aesthetic properties of nostalgic goods rather than a direct personal connection (Goulding 575). Popular culture items are a site of widespread collecting behaviour (Geraghty 2). Belk argues that our possessions are used to construct our social selves. Collectors are a special kind of consumer: where consumers use and discard goods as needed, collectors engage with goods as special objects to be maintained and preserved (Belk 254), which is often achieved through ritualistic behaviour (McCracken 49). This is not to say that items in a collection are removed from use entirely: often being used in the normal manner, for example, clothing collectors will wear their items, yet take care of them in the a way they see akin to conservatorship (Hackett). Collections are often on display, often using the flexibility of the Internet as showground, as is the case with Neil Scallon’s world record collection of Monopoly’s 3,554 different versions of the game (World of Monopoly). Monopoly has low barriers to entry for a collector, as many sets retail at a low price-point, yet there are a few sets which are very expensive. The most expensive Monopoly set of all time retailed for US$2 million, and the cost was mainly borne out of the luxurious materials used: “the board is made from 23 carat gold, rubies and sapphires top the chimneys of the solid gold houses and hotels and the dice have 42 full cut diamonds for spots” (Guinness World Records "Most Expensive"). Conclusion The recent resurgence in board game popularity has only served to highlight Monopoly’s longevity. Through clever marketing and leveraging of nostalgia and popular culture fandoms, Hasbro has managed to retain Monopoly’s position as the number one board game, in sales figures at least. Despite its popularity, Monopoly suffers from a reputation as a conduit for poor player behaviour, as one person triumphs at the downfall of the other players. The game dynamics punish those whom fortune did not reward. In this regard, Elizabeth Magie’s initial aim of teaching about the unfairness of capitalism can be considered a resounding success. 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