Статті в журналах з теми "Face-voice associations"

Early in life, infants possess an effective face-processing system which becomes specialized according to the faces present in the environment. Infants are also exposed to the voices and sounds of caregivers. Previous studies have found that face–voice associations become progressively more tuned to the types of association most prevalent in the environment. The present study investigated whether 6-month-old infants associate own-race faces with their native language and faces from a different race with a non-native language. Infants were presented with pictures of own- and other-race faces simultaneously, with a native or non-native language in a habituation paradigm. Results indicate that 6-month-olds are able to match other-race faces to a non-native language.

Although sexual orientation (SO) is perceptually ambiguous, people are able to detect it with above-chance accuracy from faces and, sometimes, from voices. Despite a multitude of “gaydar” studies, it is unclear (1) whether vocal or facial signals carry more SO information, (2) whether raters refer to target’s SO instead of gender-role conformity when forming SO impressions, and (3) whether there are any differences for female and male targets. We collected face photographs, voice recordings, and self-reported gender-role conformity of 18 lesbian/gay and straight female and male target persons each. Study 1 (rating of SO) showed that faces led to higher accuracies than voices, which was especially true for female targets. Study 2 (rating of gender-role conformity) showed that the link between self-reported and attributed SO was mediated by self-reported and attributed gender-role conformity. Results support the centrality of gender-role conformity, more than that of SO, in impression formation.

AbstractThis study examines the effects of two cognitive abilities—language analytic ability (LAA) and working memory (WM)—on language learning under five different instructional conditions. One hundred fifty eighth-grade English as a foreign language learners underwent a 2-hr treatment session. They were divided into five groups based on whether and when they received form-focused instruction. One group received pretask instruction on the linguistic target (English passive voice) before performing two narrative tasks; a second group received within-task feedback but no pretask instruction; a third group received both pretask instruction and within-task feedback; a fourth group received feedback after completing the tasks; and the fifth group only performed the tasks. The results showed that (a) LAA was predictive of the posttest scores of the group that only performed the communicative tasks and the group who received posttask feedback, (b) WM was associated with the learning outcomes of the two groups receiving within-task feedback, and (c) neither cognitive variable was implicated in the group that received pretask instruction before performing the tasks. The results suggest that the impact of LAA is evident when there is less external assistance and that WM is involved when learners face the heavy processing burden imposed by within-task feedback.

People express emotion using their voice, face and movement, as well as through abstract forms as in art, architecture and music. The structure of these expressions often seems intuitively linked to its meaning: romantic poetry is written in flowery curlicues, while the logos of death metal bands use spiky script. Here, we show that these associations are universally understood because they are signalled using a multi-sensory code for emotional arousal. Specifically, variation in the central tendency of the frequency spectrum of a stimulus—its spectral centroid—is used by signal senders to express emotional arousal, and by signal receivers to make emotional arousal judgements. We show that this code is used across sounds, shapes, speech and human body movements, providing a strong multi-sensory signal that can be used to efficiently estimate an agent's level of emotional arousal.

Slitfilm (Résfilm, 2005) and The Gravedigger (A sírásó, 2010) are two Hungarian experimental films made using a slit camera. The director/photographer Sándor Kardos’s adaptations of Ryūnosuke Akutagawa’s short story “The Handkerchief” and of Rainer Maria Rilke’s “The Gravedigger” expose a particular “physiognomy” of the filmic medium through the use of this technique. Likewise, the face as the privileged medial surface for emotion becomes an uncanny, stretched painting with grotesque associations, similar to Francis Bacon’s paintings. The sharp, clear narrator’s voice, layering the literary texts “onto” the moving image further emphasises the colour-stained plasticity of the visible. Both films attempt to articulate a liminal experience: the cultural differences between the East and the West that are inherent in expressing and concealing emotions (Slitfilm) or the questions relating to life and death, the speakable/conceivable and the unspeakable/inconceivable (The Gravedigger) that are embedded in the communicative modalities of social interaction. Through the elastic flow of images, the face and the hand become two uncovered, visible, corporeal surfaces engaged in a rhythmic, chromatic relationship (due to the similar skin tones of face and hand), and thus gradually uncover the medium of the film as a palpable skin surface or violated, wounded flesh. The article approaches the fluid, sensuous imagery that displaces the human towards the inhuman uncanny of the unrecognisable flesh through Deleuzian concepts of fold and inflection.

Abstract. This multistudy investigation examines how entrapment, which is the guilt, anxiety, or stress to respond and be available to others via mobile devices, shapes and is shaped by patterns of mobile use. Using structural equation modeling on cross-sectional survey responses, Study 1 (N = 300) tested relationships among offline social network size, voice and text frequency, entrapment, and well-being. Offline social network size was associated with text message frequency, and both were indirectly associated with lower subjective well-being via entrapment. Study 2 used experience sampling to confirm associations among entrapment, texting, and well-being. Participants (N = 112) reported on face-to-face, phone, and text interactions five times a day for 5 consecutive days (n = 1,879). Multilevel modeling results indicated that beginning-of-week entrapment was associated with more interactions with acquaintances and strangers, and with reporting lower affective well-being and relatedness when interacting via text. Well-being reported during text interactions and number of interactions with acquaintances and strangers during the week both predicted changes in entrapment by the week’s end. Change in entrapment was associated with lower subjective well-being at the week’s end. Results suggest that entrapment is associated with using texting to maintain larger networks of social relationships, potentially stressing individuals’ capacity to maintain less close relationships via mobile communication.

The gendered language system is often used in literary works to present distinct character perspectives however, the issue of representation is accentuated when a writer presents a perspective of a different gender. Kawabata Yasunari and Gabriel Garcia Marquez who depicted female perspectives in their stories, have to face the issue of reliability of representation: theirs is argued asa patriarchal perception of a female’s perspective. Employing Spivak’s argument in Can the Subaltern Speak?, this paper positioned her statement as “through the perspective of the West (men), subaltern (women) become/s dependent on them (men) to speak for their condition rather than allowing them to speak for themselves.” This paper discussed the gendered language by examining the characters’ uncertain finitude utilizing Asher-Greve’s established gender markers to identify gender associations. Withthe stories of the two Nobel Laureates, this paper has established that through exploring the narrators’ usage of gendered language, both writers have inadvertently revealed their own male biases. The narrators of both writers turned out to be the voice of the other not because they have truthfully and successfully spoken for the marginalized; instead, they have become estranged voices of the subjects they are supposed to represent.Hence, the voices that cry for connection and understanding.

IntroductionWith the accelerating pace of ageing, healthy ageing has become a major challenge for all societies worldwide. Based on that Healthy Ageing concept proposed by the WHO, the SoBeezy intervention has been designed through an older person-centred and integrated approach. The programme creates the environments that maximise functional ability to enable people to be and do what they value and to stay at home in best possible conditions.Methods and analysisFive levers are targeted: tackling loneliness, restoring feeling of usefulness, finding solutions to face material daily life difficulties, promoting social participation and combating digital divide. Concretely, the SoBeezy programme relies on: (1) a digital intelligent platform available on smartphone, tablet and computer, but also on a voice assistant specifically developed for people with digital divide; (2) a large solidarity network which potentially relies on everyone’s engagement through a participatory intergenerational approach, where the older persons themselves are not only service receivers but also potential contributors; (3) an engagement of local partners and stakeholders (citizens, associations, artisans and professionals). Organised as a hub, the system connects all the resources of a territory and provides to the older person the best solution to meet his demand. Through a mixed, qualitative and quantitative (before/after analyses and compared to controls) approach, the research programme will assess the impact and effectiveness on healthy ageing, the technical usage, the mechanisms of the intervention and conditions of transferability and scalability.Ethics and disseminationInserm Ethics Committee and the Comité Éthique et Scientifique pour les Recherches, les Études et les Évaluations dans le domaine de la Santé approved this research and collected data will be deposited with a suitable data archive.

When social animals communicate, the onset of informative content in one modality varies considerably relative to the other, such as when visual orofacial movements precede a vocalization. These naturally occurring asynchronies do not disrupt intelligibility or perceptual coherence. However, they occur on time scales where they likely affect integrative neuronal activity in ways that have remained unclear, especially for hierarchically downstream regions in which neurons exhibit temporally imprecise but highly selective responses to communication signals. To address this, we exploited naturally occurring face- and voice-onset asynchronies in primate vocalizations. Using these as stimuli we recorded cortical oscillations and neuronal spiking responses from functional MRI (fMRI)-localized voice-sensitive cortex in the anterior temporal lobe of macaques. We show that the onset of the visual face stimulus resets the phase of low-frequency oscillations, and that the face–voice asynchrony affects the prominence of two key types of neuronal multisensory responses: enhancement or suppression. Our findings show a three-way association between temporal delays in audiovisual communication signals, phase-resetting of ongoing oscillations, and the sign of multisensory responses. The results reveal how natural onset asynchronies in cross-sensory inputs regulate network oscillations and neuronal excitability in the voice-sensitive cortex of macaques, a suggested animal model for human voice areas. These findings also advance predictions on the impact of multisensory input on neuronal processes in face areas and other brain regions.

This project uses Openfire to implement a virtual 3D animation instant messaging system, which is easier to use and more expandable. The main work of the client is to implement the Extensible Messaging and Presence Protocol (XMPP) and use XMPP to transmit data to the server side and receive data from the server side, while Openfire is built by the server side to use. To address the problem that the current mainstream face key point localization model is less robust to complex environments, this project adopts a deep learning-based approach to design and implement the face key point localization model, through data preprocessing, model design, and model training, to achieve a robust model that can locate 68 face key points and complete the migration of the model to mobile. The current video communication often suffers from delay and lag, so this project uses face key point data instead of video stream data transmission to reduce the pressure on the network. This topic also uses voice coding and decoding, noise reduction, echo cancellation, and other processing to solve the problems of noise interference and echo interference in voice transmission. This paper also introduces the creation, import, and loading of 3D virtual models, and explains how to use face key point association to drive 3D animation models, how to make the drive smoother and more natural, and using individual face key points as an example.

IntroductionSARS-CoV-2, a highly contagious severe acute respiratory syndrome, has spread to most countries in the world and resulted in a change to practice patterns for the assessment and diagnosis of people with voice disorders. Many services are transitioning to telehealth models to maintain physical distancing measures and conserve personal protective equipment used by healthcare workers during laryngoscopy examinations. The speech–language pathology primary contact (SLPPC) assessment for patients referred to ear, nose and throat (ENT) services in Australia has been shown to reduce waiting times for assessment while streamlining access to ENT assessment and allied health practitioner treatment pathways.Methods and analysisA prospective observational cohort study will see patients in a newly developed telehealth model which uses the principles from a usual care SLPPC assessment protocol. Participants will be offered an initial telehealth assessment (speech–language pathology primary contact telehealth (SLPPC-T)) prior to being prioritised for a face-to-face laryngoscopy assessment to complete the diagnostic process. The telehealth assessment will collect sociodemographic information, personal and family medical history, key symptoms, onset and variability of symptoms, red-flag signs or symptoms for laryngeal malignancy, and clinical voice assessment data for auditory–perceptual and acoustic analysis. The study outcomes include (1) association of signs, symptoms and specific voice measures collected during SLPPC-T with voice disorder classification provided after laryngoscopy; (2) degree of concordance between voice disorder classification after SLPPC-T and after laryngoscopy; (3) health service and patient-related costs and health outcomes of the SLPPC-T; (4) patient and stakeholder views and beliefs about the SLPPC-T process.Ethics and disseminationEthical approval has been granted prior to commencement of the study enrolment by the Gold Coast Hospital and Health Service Human Research Ethics Committee (reference number HREC/2020/QGC/62832). Results will be shared through the publication of articles in peer-reviewed medical journals and presentation at national and international scientific meetings.Trial registration numberACTRN12621000427875.

Purpose This study aims to investigate the moderating effect of in-group social presence on the relationship between face concern and hotel customers’ behavioral responses to service failures. Design/methodology/approach Participants were randomly assigned to two conditions: in-group presence vs control group. They read a scenario describing a hotel check-in service failure and answered questions regarding their behavioral intention after the failure and level of face concern. Findings The results indicate that face concern is positively associated with the intention to voice a complaint, to spread negative word-of-mouth and to post negative online reviews. While the impact of face concern on complaint intention became insignificant in the presence of an in-group, its effect on posting negative online reviews was enhanced when surrounded by an in-group. Research limitations/implications It addresses the long-lasting debate about the association between face concern and various types of behavioral responses to service failure. Practically, extra attention should be paid to the process quality when serving face concerned customers, particularly when they are accompanied by important others. Originality/value This study enriches the literature on cultural effects by identifying the situational effect of face concern on customers’ service failure responses. A model that describes the situational effect of face concern on different types of behavioral intention has been built.

Abstract. Prenatal testosterone (PT) may influence attractiveness such that high PT increases attractiveness in men. Here we are concerned with self-perceptions of attractiveness, rather than ratings of attractiveness by others. Our sample was 255,116 participants drawn from an Internet survey. We considered the relationship between self-reported attractiveness and the ratio of the length of the 2nd and 4th digits (digit ratio, 2D:4D), a putative negative correlate of PT. Participants reported ratings on their general attractiveness, and the attractiveness of their face, voice, and body. There were significant effects of sexual orientation on the ratings and we considered only heterosexuals in all subsequent analyses. We found that 2D:4D was negatively correlated with general, facial, and body attractiveness, with the strongest association for body attractiveness. There was no relationship for voice attractiveness. General, facial, and body attractiveness were negatively associated with age and positively related to height (a possible correlate of adult testosterone, AT). However, the 2D:4D relationships were independent of age and height. 2D:4D differs across ethnic groups, but a consideration of only white Caucasians gave essentially the same results. We conclude that (1) high PT, as measured by low 2D:4D, is associated with self-perception of high attractiveness in men and women, and (2) the relationships between height and attractiveness indicate that AT is also positively correlated to self-perceptions of attractiveness in men and women. Thus, high PT and AT may increase body esteem in both men and women.

Canadian radiology has its roots embedded in Montréal and this is no less true of the Canadian Association of Radiologists Journal, now celebrating its 70th Anniversary with the appointment of a new editor. A journal, Les Rayons-X—a monthly illustrated review published in Montréal and edited by Dr Henri Lasnier– preceded it by 40 years. Les Rayons-X was to last only 7 issues. However, Dr Lasnier clearly recognized the importance of a journal to what was then an emerging specialty. By 1950, the Canadian Association of Radiologists became the first specialty society in Canada to publish a scientific journal. We reflect on some facets of the evolution of the journal from a cottage industry to its adoption by a major publishing house and through the hands of 14 editors. In that time, radiology itself has undergone remarkable changes in its technological infrastructure leading to profound changes in the capacity of radiological practitioners and scientists to diagnose and treat disease. These changes themselves impose some constraints on a general radiology journal. The Association has at times faced substantial challenges that led to questions about its ability to sustain a journal in the face of competing priorities. Those challenges will likely recur in the future, not least in the face of other better-resourced journals. As the Canadian Association of Radiologists has evolved into a distinctive voice in Canadian medicine, we argue that a strong case can be made for preserving a platform for Canadian radiology featuring Canadian observations and perspectives, both scientific and “political.”

This essay sums up the quest for freedom of thought, speech, press, and association in Tito's Yugoslavia via an attempt to launch an independent magazine. Free Voice, and simultaneously foimd a Movement of Independent Intellectuals at the Faculty of Philosophy at the Zadar branch of Zagreb University in the 1960s, This was the Movement that Mihajlo Mihajlov joined. And while Mihajlov became famous for his intellectual travelogue, Moscow Summer 1964, published in the West, but banned in Yugoslavia, the would-be founders of the new magazine and Movement were all intimidated and persecuted, Mihajlov himself was imprisoned in August 1966 on the eve of the press conference to announce the project, while Mirko Vidović was in exile in France, Vidović would also face imprisonment in the 1970s, joining Mihajlov in the same prison where they organized hunger strikes demanding better treatment and regime recognition of the status of political prisoners.

Tangible “heritage” (artifacts, buildings, and sites) has always played key roles in identity and nation-building in the Middle East. As countries in the Middle East face unprecedented disorder and violence we lack more nuanced answers to what preservation was, is, and what it can be in the future. This roundtable—initiated as a session at the Middle East Studies Association's annual meeting in 2016—offers a much-needed perspective and critical voice in a debate that has become increasingly monolithic. In other words, current notions of what “cultural heritage” is and how it should be preserved are limited and often dismiss the limitations, complexities and ironies of iconoclasm. Objects seen as valuable by some but “idolatrous” to others, for example, have sometimes been destroyed precisely because they were considered worthy of preservation by opposing parties. Further, preservation and destruction were rarely exclusive binaries, but rather connected and identified in crucial ways. They are, in other words, two sides of the same coin: Archaeological excavation has destroyed buildings and deposits in strata above selected layers or artifacts, often removing sites that are meaningful in other ways, such as Islamic shrines.

BACKGROUND: Hyperkinetic vocal function (muscle tension dysphonia) may be an indication of underlying glottal insufficiency. In the face of an organic voice disorder such as presbylaryngis or vocal fold paresis. Hyperkinetic laryngeal behaviors may be used to achieve glottal closure. Such compensatory laryngeal behaviors may mask the correct underlying diagnosis. OBJECTIVE We sought to evaluate the association between vocal fold bowing due to presbylaryngis and abnormal muscle tension patterns (MTPs). METHODS: One hundred consecutive volunteers >40 years old were prospectively evaluated. All underwent a comprehensive head and neck examination that included transnasal fiberoptic laryngoscopy with videostroboscopy. Abnormal MTPs were compared in subjects with and without vocal fold bowing. RESULTS: The mean age of the cohort was 61 years. Eighty-four percent (42 of 50) of the male subjects and 60% (30 of 50) of female subjects had evidence of vocal fold bowing. Of the 72 patients with bowing, 94% (68 of 72) had abnormal MTPs. Compared with subjects without vocal fold bowing, persons with bowing were 17 times more likely to exhibit abnormal MTPs (P < 0.001). CONCLUSIONS: Abnormal MTPs are common in persons with underlying glottal insufficiency. Patients with vocal fold bowing are 17 times more likely to exhibit abnormal MTPs (95% confidence interval, 4.9 to 59.4). Clinicians should be aware that compensatory hyperkinetic laryngeal behaviors may mask an underlying organic condition.

The creator of several vaccines given to children around the world everyday, Maurice Hilleman, advised that at the same time that new vaccines would emerge in the 21st century due to technological advances, unfounded criticisms of vaccines would extended beyond spurious belief systems to actual anti-vaccine movements. He pointed out that these movements are aimed at disruption of vaccine programmes through use of public media including the press, television and the Internet in his response to the spurious association between autism and Crohn's disease with one of his main creations, MMR vaccine (1). Andrew Wakefield, author of an unsound scientific paper in 1998 proposing such association, was motivated by an undue agreement to support a lawsuit (2). Nevertheless, Wakefield remains as an outstanding voice in the anti-vaccine movement (3). Why the once feared diseases disappeared from collective memory? On the other hand, adverse events following immunization that we used to bear as a fair risk for the expected benefit are not accepted anymore? Why we have forgotten the benefits, but not forgiven the risks? How could we define new strategies to face the challenges of immunization programmes? The 1976 swine flu immunization programme in United States was a landmark on the questioning of risk-benefit ratio for vaccines. The concern on a new pandemic flu after triggered a large mass vaccination campaign. Pandemic flu cases did not appear, but serious adverse events did raise questions on public opinion (4). This contrasted with most of the vaccines where decreasing incidence of a preventable diseases compared with safety concerns seems to be acceptable for the society. On the other hand, efficacious vaccines, like whole-cell pertussis vaccine (wP), have been also on the spot due to relevant adverse events after immunization...

Women’s position has not changed greatly in the patriarchal society of Bangladesh. The cultural interpretation of social practices creates a lot of obstacles for women to survive properly. Most of the time conventional development projects and policies prefer men’s issue to ensure their rights and opportunities rather than women’s as human being. Today’s socio-economic political situation has also affected poor people’s livelihood improvement especially for the poorest of the poor group. Among them, forest areas women are living in the most vulnerable situation to meet their livelihood. They have to face unthinkable problem to maintain their livelihood strategies as they do not have enough food, education, voice, power to exercise their capacity to bring some changes in both public and private places. To improve forest areas people’s livelihood strategy USAID/Bangladesh is playing a very significant role in association with states initiatives. They identified some areas as protected areas to take innovative development projects named co-management approach to development local people’s sustainable development. Lawachara is one of the oldest protected forest areas, under co-management approach in Bangladesh and USAID/Bangladesh has already launched different types of strategy to improve local people’s livelihood and as well as natural resource development. Through comanagement approach women in Lawachara are now really having some positive changes regarding their livelihood improvement but still there are some problems regarding policies, implementation strategies, monitoring and evaluation strategies. Greater recognition of this problem will be helpful for women in Lawachara to improve their livelihood strategies by incorporating gender issues into different mechanisms. In this regard this study examines the co-management approach from gender perspective to analyze the improvement of women’s livelihood strategy.

Scaling the summit for women’s rights: From local to global and global to local (p.21) Bandana RanaFinding your voice and identity for many women in South Asia, including Nepal, is like climbing Mt. Everest, the highest peak in the world—not an easy task with deeply embedded patriarchal values and gender norms. Violence against women, particularly domestic violence, is the biggest deterrent to women’s advancement and development. However, with support from a vibrant women’s movement and civil society activism, scaling this mountainous hurdle can be possible. This article examines both the challenges that women in Nepal face and the progress that women’s rights groups have achieved in promoting gender equality in that country. Through both personal and systemic reflections, world-renown women’s rights activist Bandana Rana presents her journey for gender equality from the local to the global and back.Tradition, development, and gender equality: Addressing the incoherences through collective action (p.32) Tara LipovinaThis article addresses gender coherence for development, defined as transformative development that addresses systemic power differences that discriminate against women. Following the contribution from Bandana Rana, this scientific article reflects on challenges that women face in Nepal, with specific discussion of patriarchal traditions. However, the analysis notes that the development does not necessarily positively effect gender equality. Regional policies, such as the European Union’s neighborhood policies in the Western Balkans (specifically in Montenegro), and the Association of Southeast Asian Nation’s economic policies often undermine the gender equality initiatives from these regions. The article identifies collective action and norm ownership as important bases for achieving transformative development that promotes gender equality.Mujeres indígenas, desarrollo y derecho a una vida libre de violencia (p.40) Mónica Carrasco Gómez y Perla O. Fragoso LugoEn este artículo se argumenta la relevancia de la participación directa de las mujeres indígenas en la planeación, modelación, ejecución y evaluación de las políticas públicas dirigidas a ellas como una población diversa, con agendas comunes a las de las mujeres mestizas, pero también con necesidades, problemáticas y propuestas distintas e incluso diferenciadas según su propio grupo cultural. Para ello nos centramos en el abordaje de los programas gubernamentales y la literatura producida en torno al desarrollo social y al combate a la violencia de género contra las mujeres en el estado de Chiapas, la entidad con el mayor número de habitantes hablantes de una lengua indígena en México.

Background: Anaemia is very common in hypothyroid patient. The results of the type of anaemia in hypothyroid patient studied outside may not be similar on Bangladeshi population. So far, there is no such study regarding the types of anaemia in hypothyroid patients in Bangladeshi population. Methods: This was a cross sectional study in patients with hypothyroidism who was attending in the thyroid and endocrine clinic of Bangabandhu Sheikh Mujib Medical University, Dhaka over a period of one year. All newly diagnosed cases were selected considering inclusion and exclusion criteria. A structured questionnaire was used for data collection. Results: Fifty newly detected hypothy sroid patients were studied among the study population, 52.0% was between 05 to 35 years and another 48.0% were in 36 to 65 years. 76.0% were female. Bradycardia was found in 20.0% cases. Puffiness of face, peripheral oedema and cold intoleran ce were found in 78.0%, 68.0% and 82.0% cases respectively. Hoarseness of voice, delayed relaxation of tendon reflexes and paraesthesia were found in about 80.0% cases. Myxoedema and vitiligo were found in 54.0% and 6% cases. FT4 level was reduced in 100.0% cases (Normal range of FT4-9.14-23.81 pmol/L). The mean of FT4 was 5.10 pmol/L. On the other hand TSH level increased in all cases (Normal range of TSH-0.47-5.0l mIU/L). The mean of TSH was 109.88 mIU/L. 50 cases were positive anti TG-Ab and also anti PO­-Ab was positive in Fifty cases. Hemoglobin concentration was reduced in 70.0% cases. The mean of haemoglobin concentration was 10.67 gm/dl. In this present study, association of serum anti TG Ab and anti PO Ab of the patients with hypothyroidism and their corresponding hemoglobin concentration were found significant (p<0.05) but on the other hand there was no association between serum FT4 of the patients with hypothyroidism and their corresponding haemoglobin concentration (p> 0.05). Normocytic normochromic anaemia were found in 64.0% cases, and Microcytic hypochromic anaemia in 32% and Macrocytic anaemia in 4.0% of the cases. Iron deficiency was found in 90.0% and chronic blood loss in 44.0% of the cases. Conclusion: Anaemia is frequently found in hypothyroid patients. So, hypothyroidism should be excluded in anaemia of nonspecific origin. Bangladesh Med Res Counc Bull 2020; 46(1): 55-60

Dear Clinical and Investigative Medicine (CIM) readers, I write this message to solicit your help in making the Canadian Society for Clinical Investigation a vital society for medicine in Canada and to inform CIM readers about the CSCI. The CSCI plays an important role in maintaining the sustainability of our health care system. The only way to improve health care for Canadians is to continually optimize our methods of treatment and to gain a better understanding of the illnesses that face our population. Systematic research in all facets of healthcare, be it the molecular mechanisms of disease, the efficacy of treatment alternatives or the functioning of the health care system is the only way to guarantee a better system for the next generation of Canadians. As the only Society in Canada with a dedicated focus on the profession of clinician-researchers and our young clinician-investigator trainees, we provide crucial support for the enterprise of clinical investigation in Canada. The CSCI’s mandate is to promote clinical and basic research in the field of human health throughout Canada, to lobby for adequate research funding at the federal, regional and local levels, and to support Canadian researchers in their endeavours and at all stages of their careers. The CSCI organizes an annual meeting that highlights research work by its members and guest lecturers that speak with authority on issues that face Clinician-Investigators in Canada. CSCI is currently in the midst of a reorganization that started several years ago and has resulted in the establishment of an independent meeting, a renewed Young Investigators Forum and establishing close ties with the Clinician Investigator Trainee Association of Canada (CITAC). Reinforcing our efforts to revitalize our organization, we recently hired a new organization, Gallaher Membership Services and together we are streamlining our Society’s operations. The new CSCI website address is www.csci-scrc.ca. The website contains vital information about the CSCI, CIM and information about becoming a member of the CSCI. Our Society’s journal, Clinical and Investigative Medicine (CIM), has also undergone a transformation and is under the leadership of Dr. Jonathan Angel of Ottawa. We are proud of the changes that have occurred at CIM and look forward to the continued success of this journal. I sincerely hope that all Clinician-Investigators in Canada, irrespective of their stage of training or career, will adopt the changes that have been made and those that will continue to be made at CSCI by joining CSCI and participating in strengthening the voice for Clinical-Investigation in Canada. Joining CSCI allows members to publish in CIM at no charge. This is a tremendous value for our members. Communication with CSCI members will continue through CIM where we will give updates announcing further developments at the CSCI. I welcome any feedback or suggestions and hope that you enjoy reading CIM as much as I do. Sincerely, Brent W. Winston, MD, FRCPC, FACP, FCCM President, CSCI

A commercial kitchen can be an aggressive environment. Research on aggression in kitchens and the hospitality sector is important as it illuminates environmental, vocational and cultural issues. This article explores how upmarket chefs, many of whom are now proprietors, have experienced aggression. Information for this article was collected during a wider study on how the impact of compulsory celebrity within kitchen culture has affected upmarket chef proprietors [1]. Its contribution is in providing a New Zealand context to research on kitchen aggression. Data were analysed, grouped and coded using grounded theory methods, which allow findings to be extracted from the data without using any preconceived theoretical framework [2]. Analysis revealed that all chefs had experienced aggressive behaviour or had been the perpetrators themselves. Research such as this hopes to encourage frank discussion that can demystify aggression and reduce harm. Aggressive behaviour within kitchens can be faced by all, including kitchen workers, front of house staff, management, proprietors and suppliers. It can be a factor in poor staff morale and result in staff turnover [1, 3]. The inclination for a person to act aggressively in a kitchen can be influenced by environmental conditions including an uneven workload, low margins, poor wages, irregular working hours, and difficult working conditions such as insufficient space and heat. All of these factors create an ‘aggression-ready’ environment [4]. Further, kitchens are hierarchical in structure with those who may be the most susceptible to aggressive acts also being those least likely to have the confidence, status or ability to voice their concerns. It takes years of training to be a chef, and it is during this process that aggression is most likely to be experienced [5]. Well-known chef Gordon Ramsay calls this “the knowledge”, stating: ‘‘this job is the pits when you’re learning. You have to bow down and stay focused until the knowledge is tucked away … The weak disappear off the face of the earth” [6]. However, aggression within kitchens is now being publicly discussed, with websites such as ‘FairKitchens’ (https://www.fairkitchens.com) spotlighting negative kitchen culture and creating a space for shared stories and industry unity. Other research is taking place, such as the five-year-funded, Australian-wide industry study focusing on the mental health of chefs and examining adverse practices within kitchen culture [7]. Initiatives and research such as this seek to contribute to real-world solutions. The research above strongly suggests that the culture and environmental conditions that result in aggressive acts in commercial kitchens are real. From a New Zealand perspective, all 20 chefs interviewed had experienced aggression. Reflecting on his early vocational experiences, one interviewee, James, stated: “It was a tough environment; I got my hand fractured by one of the head apprentices with one of those big wooden spoons. Probably I said something I shouldn’t of. I got hit. However, I thrived in it.” Troy supported the assumption that part of the learning involved accepting physical aggression: “It was discipline. We didn’t think about it like being hit, you expect it, but it taught you, because you had to be perfect all the time.” Because this research focussed on chef proprietors, these comments may reflect a time when aggression was seen as an important part of being a chef. However, with experience and on reflection, several participants lamented their own aggressive actions. June stated, “It was just natural … I stomped on a lot of people. I thought that everybody else wanted to get to the top so therefore I was probably harsher on people than what I needed to be.” Some chefs now focus on their own and their staffs’ general well-being. Jeremy discussed that, “I always like to work with people that didn’t yell and scream. I don’t think that’s appropriate in a kitchen because it is already hard enough. Without some chef yelling and screaming at you … staff are the most important.” These statements perhaps reflect a desire, a need, and the will for kitchen cultural change. Additionally, it shows the importance of educating individuals entering the commercial kitchen environment about the stressors that they will face and how to deal with them, with the aim of reducing the occurrences, severity and overall harm that aggressive acts cause. It is only through the education and support of young chefs entering kitchens, and acknowledgement by more experienced chefs that the kitchen culture needs to change, that lasting benefits for all will occur. Read the full research here: https://openrepository.aut.ac.nz/handle/10292/9559 Corresponding author Scott Wright can be contacted at: scott.wright@aut.ac.nz References (1) Wright, S. D. The Compulcelebrity Effect: Upmarket Chef Proprietors and Compulsory Celebrity. Master’s Thesis, Auckland University of Technology, 2015. https://openrepository.aut.ac.nz/handle/10292/9559 (accessed Nov 25, 2017). (2) Díaz-Andrade, A. (2009). Interpretive Research Aiming at Theory Building: Adopting and Adapting the Case Study Design. The Qualitative Report 2009, 14 (1), 42–60. https://nsuworks.nova.edu/tqr/vol14/iss1/3 (3) Johns, N.; Menzel, P. J. (1999). If You Can’t Stand the Heat!: Kitchen Violence and Culinary Art. Hospitality Management 1999, 18 (2), 99–109. https://doi.org/10.1016/S0278-4319(99)00013-4 (4) Meloury, J.; Signal, T. (2014). When the Plate is Full: Aggression among Chefs. International Journal of Hospitality Management 2014, 41, 97–103. https://doi.org/10.1016/j.ijhm.2014.05.006 (5) James, S. (2006). Learning to Cook: Production Learning Environment in Kitchens. Learning Environments Research 2006, 9 (1), 1–22. https://doi.org/10.1007/s10984-005-9001-5 (6) Duncan, A. Andrew Duncan Meets Gordon Ramsay. Radio Times Feb, 2001, 10 (16), 8–12. (7) Robinson, R.; Whitelaw, P.; Lyman, D.; Rogers, L. (2019). Are Things Just Too Hot in the Kitchen? Chefs’ Mental Health & Wellbeing. Presented at the Travel and Tourism Research Association Conference, June 25–27, Melbourne, Australia.

Introduction Such symptoms as hard, complex, bodily or mental feelings, that turn our everyday life into a hell, at first, lead us to a doctor, and then - to a psychotherapist. A sick man is keen to get rid of a symptom. A doctor prescribes medication, that is ought to eliminate a symptom. A psychotherapist searches for a reason of the problem that needs to be removed. There is such an idea that a neurotic symptom, in particular, an anxiety - is a pathological (spare or extra) response of a body. It is generally believed that such anxiety doesn’t have some real, objective reasons and that it is the result of a nervous system disorder, or some disruption of a cognitive sphere etc. Meanwhile, it is known that in the majority of cases, medical examinations of anxious people show that they don’t have any organic damages, including nervous system. It often happens that patients even wish doctors have found at least any pathology and have begun its treatment. And yet - there is no pathology. All examinations indicate a high level of functionality of a body and great performance of the brain's work. Doctors throw their hands up, as they can't cure healthy people. One of my clients told me her story of such medical examinations (which I’ll tell you with her permission). She said that it was more than 10 years ago. So, when she told her doctor all of her symptoms - he seemed very interested in it. He placed a helmet with electrodes on her head and wore some special glasses, when, according to her words, he created some kind of stressful situation for her brain, as she was seeing some flashings of bright pictures in her eyes. She said that he had been bothered with her for quite a long time, and at the end of it he had told her that her brain had been performing the best results in all respects. He noted that he’d rarely got patients with such great health indicators. My client asked the doctor how rare that was. And he answered: “one client in two or three months.” At that moment my client didn’t know whether to be relieved, flattered or sad. But since then, when someone told her that anxiety was a certain sign of mental problems, or problems with the nervous system, or with a body in general, she answered that people who had anxiety usually had already got all the required medical examinations sufficiently, and gave them the advice to go through medical screening by themselves before saying something like that. Therefore, we see a paradoxical situation, when some experts point to a neurotic anxiety as if it is a kind of pathology, in other words - some result of a nervous system disorder. Other specialists in the same situation talk about cognitive impairments. And some, after all the examinations, are ready to send such patients into space Main text I don’t agree with the statement that any neurotic anxiety that happens is excessive and unfounded. It often happens that there is objective, specific and real causes for appearance of anxiety conditions. And these causes require solutions. And it’s not about some organic damages of the brain or nervous system. The precondition that may give a rise to anxiety disorder is the development of such a life story that at some stage becomes too toxic - when, on the one hand, a person interacts with the outside world in a way that destroys his or her personality, and, on the other hand, this person uses repression and accepts such situation as common and normal. Repression - is an essential condition for the development of a neurotic symptom. Sigmund Freud was the first who pointed this out. Repression is such a defense mechanism that helps people separate themselves from some unpleasant feelings of discomfort (pain) while having (external or internal) irritations. It is the situation when, despite the presence of irritations and painful feelings, a person, however, doesn't feel any of it and is not aware of them in his or her conscious mind. Repression creates the situation of so-called emotional anesthesia. As a result, a displacement takes place, so a body starts to signal about the existing toxic life situation via a symptom. Anxiety disorder is usually an appropriate response (symptom) of a healthy body to an unhealthy life situation, which is seen by a person as normal. And it’s common when such a person is surrounded by others (close people), who tend to benefit from such situation, and so they actively maintain this state of affairs, whether it is conscious for them or not. At the beginning of a psychotherapy almost all clients insist that everything is good in their lives, even great, as it is like in everyone else’s life. They say that they have only one problem, which is that goddamn symptom. So they focus all of their attention on that symptom. They are not interested in all the other aspects of their life, and they show their irritation when it comes to talking about it. People want to get rid of it, whatever it takes, but they often tend to keep their lives the way that it was. In such cases a psychotherapist is dealing with the resistance of clients, trying to turn their attention from a symptom to their everyday situation that includes their way of thinking, interactions with themselves and with others and with the external world in order to have the opportunity to see the real problem, to live it through, to rethink and to change the story of their lives. For better understanding about how it works I want to tell you three allegorical tales. The name of the first tale is “A frog in boiling water”. There is one scientific anecdote and an assumption (however, it is noted that such experiments were held in 19 century), that if we put a frog in a pot with warm water and start to slowly heat the water, then this frog get used to the temperature rise and stays in a hot water, the frog doesn’t fight the situation, slowly begins to lose its energy and at the last moment it couldn’t find enough strength and energy to get out of that pot. But if we throw a frog abruptly in hot water - it jumps out very quickly. It is likely that a frog, that is seating in boiling water, will have some responses of the body (symptoms). For example, the temperature of its body will rise, the same as the color of it, etc., that is an absolutely normal body response to the existing situation. But let us keep fantasizing further. Imagine a cartoon where such a frog is the magical cartoon hero, that comes to some magical cartoon doctor, shows its skin, that has changed the color, to the doctor, and asks to change the situation by removing this unpleasant symptom. So the doctor prescribes some medication to return the natural green color of the frog’s skin back. The frog gets back in its hot water. For some period of time this medication helps. But then, after a while, the frog’s body gets over the situation, and the redness of the frog's skin gets back. And the magical cartoon doctor states that the resistance of the body to this medication has increased, and each time prescribes some more and more strong drugs. In this example with the frog it is perfectly clear that the true solution of the problem requires the reduction of the water temperature in that pot. We could propose that magical cartoon frog to think and try to realize that: 1) the water in that pot is hot, and that is the reason why the skin is red; 2) the frog got used to this situation and that is why it is so unnoticeably for this frog; 3) if the temperature of the water in the pot still stay so hot, without any temperature drop, then all the medication works only temporarily; 4) if we lower the temperature in that pot - the redness disappears on its own, automatically and without any medication. Also this cartoon frog, that will go after the doctor to some cartoon physiotherapist, will face the necessity to give itself some answers for such questions as: 1) What is going on? Who has put this frog in that pot? Who is raising the temperature progressively? Who needs it? And what is the purpose or benefit for this person in that? Who benefits? 2) Why did the frog get into the pot? What are the benefits in it for the frog? Or why did the frog agree to that? 3) What does the frog lose when it gets out of this pot? What are the consequences of it for the frog? What does the frog have to face? What are the possible difficulties on the way? Who would be against the changes? With whom the frog may confront? 4) Is the frog ready to take control over its own pot in its own hands and start to regulate the temperature of the water by itself, so to make this temperature comfortable for itself? Is this frog ready to influence by itself on its own living space, to take the responsibility for it to itself? The example “A frog in boiling water” is often used as a metaphorical portrayal of the inability of people to respond (or fight back) to significant changes that slowly happen in their lives. Also this tale shows that a body, while trying to adjust to unfavorable living conditions, will react with a symptom. And it is very important to understand this symptom. Symptom - is the response of a body, it’s a way a body adjusts to some unfriendly environment. Symptom, on the one hand, informs about the existence of a problem, and from the other hand - tries to regulate this problem, at least in some way (like, to remove or reduce), at the level on which it can do it. The process is similar to those when, for example, in a body, while it suffers from some infectious disease, the temperature rises. Thus, on the one hand, the temperature informs about the existence of some infection. On the other hand, the temperature increase creates in a body the situation that is damaging for the infection. So, it would be good to think about in what way does an anxiety symptom help a body that is surrounded by some toxic life situation. And this is a good topic for another article. Here I want to emphasize that all the attempts to remove a symptom without a removal of a problem, without changing the everyday life story, may lead to strengthening of the symptom in the body. Even though the removal of a symptom without elimination of its cause has shown success, it only means that the situation was changed into the condition of asymptomatic existence of a problem. And it is, in its essence, a worse situation. For example, it can cause an occurrence of cancer. The tale “A frog in boiling water” is about the tendency of people to treat a symptom, instead of seeing their real problems, as its cause, and trying to solve it. People don’t want to see their problems, but it doesn’t mean that the problem doesn’t exist. The problem does exist and it continues to destroy a person, unnoticeably for him or her. A person with panic disorder could show us anxiety that is out of control (fear, panic), which, by its essence, seems to exist without any logical reason. Meanwhile the body of such a person could be in such processes that are similar to those that occur in the conditions of some real dangers, when the instinct for self-preservation is triggered and an automatic response of a body to fight or flight implements for its full potential. We can see or feel signs of this response, for example, in cases when some person tries to avoid some real or imaginary danger via attempts to escape (the feeling of fear), or tries to handle the situation by some attempts to fight (the feeling of anger). As I mentioned before, many doctors believe that such fear is pathological, as there is no real reason for such intense anxiety. They may see the cause of the problem in worrisome temper, so they try to remove specifically anxiety rather than help such patients to understand specific reason of their anxiety, they use special psychotherapeutic methods that are designed to help clients to develop logical thinking, so it must help them to realize the groundlessness of their anxiety. In my point of view, such anxiety often has specific, real reasons, when this response of a body, fight or flight, is absolutely appropriate, but not excessive or pathological. Inadequacy, in fact, is in the unconsciousness, but not in the reactions of a body. For a better understanding of the role of anxiety in some toxic environment, that isn’t realized, I want to tell you another allegorical tale called “The wolf and the hare”. Let us imagine that two cages were brought together in one room. The wolf was inside one cage and the hare was in another. The cages were divided by some kind of curtain that makes it impossible for them to see each other. At this point a question arises whether the animals react to each other in some way in such a situation, or not? I think that yes, they will. Since there are a lot of other receptors that participate in the receiving and processing of the sensory information. As well as sight and hearing, we have of course a range of other senses. For example, animals have a strong sense of smell. It is well known that people, along with verbal methods of communicating information, like language and speaking, also have other means of transmitting information - non-verbal, such as tone of voice, intonation, look, gestures, body language, facial expressions etc., that gives us the opportunity to receive additional information from each other. The lie detector works by using this principle: due to detecting non-verbal signals, it distinguishes the level of the accuracy of information that is transmitted. It is assumed, that about 30% of information, that we receive from the environment, comes through words, vision, hearing, touches etc. This is the information that we are aware of in our consciousness, so we could consciously (logically) use it to be guided by. And approximately 70% of everyday information about the reality around us we receive non-verbally, and this information in the majority of cases could remain in us without any recognition. It is the situation when we’ve already known something, and we even have already started to respond to it via our body, but we still don’t know logically and consciously that we know it. We can observe the responses of our own body without understanding what are the reasons for such responses. We can recognize this unconscious information through certain pictures, associations, dreams, or with the help of psychoanalysis. Psychoanalysis is a great tool that can help to recognize the information from the unconscious mind, so that it can be logically processed further on, in other words, a person then receives the opportunity to indicate the real problems and to make right decisions. But let us return to the tale where the hare and the wolf stay in one room and don’t see each other, and, maybe, don’t hear, though - feel. These feelings (in other words - non-verbal information that the hare receives) activate a certain response in the hare’s body. And it reacts properly and adequately to the situation, for instance, the body starts to produce adrenaline and runs the response “fight or flight”. So the hare starts to behave accordingly and we could see the following symptoms: the hare is running around his cage, fussing, having some tremor and an increased heart rate, etc.. And now let us imagine this tale in some cartoon. The hare stays in its house, and the wolf wanders about this house. But the hare doesn’t see the wolf. Though the body of the hare gives some appropriate responses. And then that cartoon hare goes to a cartoon doctor and asks that doctor to give it some pill from its tremor and the increased heart rate. And in general asks to treat in some way this incomprehensible, confusing, totally unreasonable severe anxiety. If we try to replace the situation from this fairy-tale to a life story, we could see that it fits well to the script of interdependent relationships, where there are a couple “a victim and an aggressor”, and where such common for our traditional families’ occurrences as a domestic family violence, psychological and physical abuse take place. Only in 2019 a law was passed that follows the European norms and gives a legislative definition of such concepts as psychological domestic abuse, sexual abuse, physical abuse, bullying, that criminalizes all of these occurrences, establishes the punishment and directly points to people that could be a potential abuser. Among them are: a husband towards his wife, parents towards their children, a wife towards her husband, a superior towards a subordinate, a teacher towards his or her students, children towards each other etc.. When it comes to recognition of something as unacceptable, it seems more easy to put to that category such occurrences as physical and sexual abuse, as we could see here some obvious events. For example, beating or sexual harassment. Our society is ready to respond to these incidents in more or less adequate way, and to recognize them as a crime. But it is harder to deal with the recognition of psychological abuse as an offence. Psychological abuse in our families is common. Psychological abuse occurs through such situations, when one person, while using different psychological manipulations, such as violation of psychological borders, imposition of feeling of guilty or shame, etc., force another person to give up his or her needs and desires, and so in such a way make this person live another’s life. Such actions have an extremely negative effect on the mental health of these people, just as much as physical abuse. It can destroy a person from the inside, ruin self-esteem and a feeling of self-worth, create the situation of absolute dependence such victim from an abuser, including financial dependence etc.. It often happens that psychological abuse takes place against the backdrop of demonstrations of care and love. So you've got this story about the wolf and the hare, that are right next to each other, and the shield between two of them is a repression - a psychological defense mechanism, when a person turns a blind eye to such offences, that take place in his or her own life and towards him or her. And this person considers this as normal, doesn't realize, doesn't have a resource to realize, that it is a crime. Most importantly - doesn’t feel anything, as a repression takes place. But a body responds in a right way - from a certain point of the existence of such a toxic situation the response “fight or flight” is launched in a body at full, in other words - the fear and anxiety with the associated symptoms. The third allegorical tale I called “Defective suit”, which I read in the book of Clarissa Pinkola Estés with the name “Running With the Wolves". “Once one man came to a tailor and started to try on a suit. When he was standing in front of a mirror, he saw that the costume had uneven edges. - Don’t worry, - said the tailor. - If you hold the short edge of the suit by your left hand - nobody notices it. But then the man saw that a lapel of a jacket folded up a little bit. - It's nothing. You only need to turn your head and to nail it by your chin. The customer obeyed, but when he put on trousers, he saw that they were pulling. - All right, so just hold your trousers like this by your right hand - and everything will be fine, - the tailor comforts him. The client agreed with him and took the suit. The next day he put on his new suit and went for a walk, while doing everything exactly in the way that the tailor told him to. He waddled in a park, while holding the lapel by his chin, and holding the short edge of the suit by his left hand, and holding his trousers by his right hand. Two old men, who were playing checkers, left the game and started to watch him. - Oh, God! - said one of them. - Look at that poor cripple. - Oh, yes - the limp - is a disaster. But I'm wondering, where did he get such a nice suit?” Clarissa wrote: “The commentary of the second old man reflects the common response of the society to a woman, who built a great reputation for herself, but turned into a cripple, while trying to save it. “Yes, she is a cripple, but look how great her life is and how lovely she looks.” When the “skin” that we put on ourselves towards society is small, we become cripples, but try to hide it. While fading away, we try to waddle perky, so everyone could see that we are doing really well, everything is great, everything is fine”. As for me, this tale is also about the process of forming a symptom in a situation when one person tries very hard to match to another one, whether it is a husband, a wife or parents. It’s about a situation when such a person always tries to support the other one, while giving up his or her own needs and causing oneself harm in such a way by feeling a tension every day, that becomes an inner normality. And so this person doesn’t give oneself a possibility to relax, to be herself (or himself), to be spontaneous, free. As a result, in this situation the person, who was supported, looks perfect from the outside, but those who tried to match, arises some visible defect, like a limp - a symptom. And so this person lives like a cripple, under everyday stress and tension, trying to handle it, while sacrificing herself (or himself) and trying to maintain this situation, so not to lose the general picture of a beautiful family and to avoid shame. The tailor, who made this defective suit and tells how to wear the suit properly, in order to keep things going as they are going, often is a mother who raised a problematic child and then tells another person how to deal with her child in the right way. It is the situation when a mother-in-law tells her daughter-in-law how to treat her son properly. In other words, how to support him, when to keep silent, to handle, how to fit in, so that her problematic son and this relationship in general looks perfect. Or vice versa, when a mother-in-law tells her son-in-law how to support her problematic daughter, how to fit in etc.. When, for example, a woman acts like this in her marriage and with her husband, with these excessive efforts to fit in - then after a while everybody will talk like: “Look at this lovely man: he lives with his sick wife, and their family seems perfect!”. But when such a woman becomes brave enough to relax and to just let the whole thing go, everybody will see that the relationship in her marriage isn’t perfect, and it is the other one who has problems. Each time when someone tries excessively to match up to another one, while turning oneself in some kind of a cripple, - he or she, on the one hand, supports the comfort of that person, to whom he or she tries to match up, and on the other hand - such a situation always arises in that person such conditions as a continuous tension, anxiety, fear to act spontaneously. A symptom - is like a visible defect, that shows itself through the body (and may look like some kind of injury). It is the result of a hidden inner prison. As a result of evolution, a pain tells us about a problem that is needed to be solved. When we repress our pain we can’t see our needs and our problems at full. And then a body starts to talk to us via a symptom. Psychotherapy aims for providing a movement from a symptom to a resumption of sensitivity to feelings, a resumption of the ability to feel your psychological pain, so you can realize your own toxic story. In this perspective another fairy-tale looks interesting to analyze - it is Andersen's fairytale “Princess and the Pea”. In the tale a prince wanted to find a princess to marry. There was one requirement for women candidates, so the prince could select her among commoner - high level of sensitivity, as the real princess would feel a pea through the mountain of mattresses, and so she could have the ability to feel discomfort, to be in a good contact with her body, to tell about her discomfort without such feeling as shame and guilt, and to refuse that discomfort, so to have the readiness to solve her problems and to demand from others the respect for her needs. It is common for our culture that the expression “a princess on a pea” very often uses for a negative meaning. So people who are in good contact with their body and who can demand comfort for themselves are often called capricious. At the same time the heroes who are ready to suffer and to tolerate their pain, who are able to repress (stop to feel) their pain represents a good example to be followed in our society. So, we may see the next algorithm in cases of various anxiety disorders: the existence of some toxic situation that brings some danger to a person. And we need not to be confused: a danger exists not for a body, but for a personality. A toxic live situation as well as having a panic attack is not a threat for the health of a body (that is what medical examinations show), and vice versa - it’s like every day intensive sport training, that could be good for your health only to some degree. A toxic situation destroys a person as a personality, who longs for one self’s expression; the existence of such a defense mechanism as repression - it’s a life with closed eyes, in pink glasses, when there is inability (or the absence of the desire) to see its own toxic story; 3.the presence of a symptom - a healthy response of a body “fight or flight” to some toxic situation; displacement - it’s replacement of the attention from the situation to a symptom, when a person starts to see and search for the problem in some other place, not where it really is. A symptom takes as some spare, pathological reaction that we need to get rid of. The readiness to fight the symptom arises, and that is the goal of such methods of therapy as pharmacological therapy, CBT and many others; the absence of adequate actions that are directed towards the change of a toxic situation itself. The absence of the readiness to show aggression when it comes to protect its space. All of it is a mechanism of formation of primary anxiety and preparation for launch of secondary anxiety. A complete anxiety disorder is the interaction between a primary and a secondary anxiety.

This study aimed to analyze the correlation between Human Capital Sustainability Leadership style and manager resilience through a pragmatic worldview. Using explanatory sequential mixed methods research design (QUAN→qual), respondents covered were managers from the Airline Operations Group of an AIRLINE Company with at least one year of managerial experience within the organization. In the quantitative phase, Human Capital Sustainability Leadership Scale by Di Fabio and Peiro (2018) and Domain-Specific Resilient Systems Scales (DRSSWork) by Maltby, Day, Hall, and Chivers (2019) were used for the online survey. Forty-five (45) eligible respondents have participated. Mean, standard deviation, and Spearman rank correlation coefficient were employed. To further explain the quantitative results, one-on-one qualitative interviews were done with eight (8) key informants, face-toface and online. Themes were identified. Results showed that Human Capital Sustainability Leadership style was exhibited by the Airline Operations Group managers to a very high degree while resilience was exhibited to a high degree. There was a linear, positive, and highly significant correlation between Human Capital Sustainability Leadership style and resilience. Each aspect of the Human Capital Sustainability Leadership style was positively, highly, and significantly correlated with manager resilience. Through triangulation, a model of leadership styles and manager resiliency was built. To implement the model, implications for a management development program were identified.ReferencesAcosta, H., Cruz-Ortiz, V., Salanova, M., & Llorens S. (2015). Healthy organization: Analysing its meaning based on the HERO model. Revista de Psicologia Social, 30 (2), 323-350. http://dx.doi.org/10.1080/21711976.2015.1016751.Ashegi, M. & Hashemi, E. (2019). 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Joassin et al. (Neuroscience Letters, 2004, 369, 132-137) observed that the recognition of face-voice associations led to an interference effect, i.e. to decreased performances relative to the recognition of faces presented in isolation. In the present experiment, we tested the hypothesis that this interference effect could be due to the fact that voices were more difficult to recognize than faces. For this purpose, we modified some faces by morphing to make them as difficult to recognize as the voices. Twenty one healthy volunteers performed a recogniton task of previously learned face-voice associations in 5 conditions: voices (A), natural faces (V), morphed faces (V30), voice-natural face associations (AV) and voice-morphed faces associations (AV30). As expected, AV led to interference, as it was less well and slower performed than V. However, when faces were as difficult to recognize as voices, their simultaneous presentation produced a clear facilitation, AV30 being significantly better and faster performed than A and V30. These results demonstrate that matching or not the perceptual complexity of the unimodal stimuli modulates the potential cross-modal gains of the bimodal situations.

PurposeOrganizations have widely adopted enterprise social media (ESM) to realize workplace communication visibility linked to employee knowledge management and in-role job performance. Managers still face challenges in understanding whether communication visibility in the workplace stimulates employee extra-role voice behavior. In this study, self-regulation theory is applied to explore the mediating role of feedback-seeking on the association between communication visibility and employee voice.Design/methodology/approachA questionnaire survey was carried out on 219 working professionals in China who use ESM in their respective organizations.FindingsResults show that employee feedback inquiry considerably mediates the relationship between communication visibility and voice. However, employee feedback monitoring shows no mediating role.Research limitations/implicationsPractitioners and managers must pay greater attention to the effects of communication visibility on employee extra-role voice behavior. In addition, when adopting ESM, employee self-regulation strategies can be implemented to gain the value of communication visibility.Originality/valueThis study presents the relationships among communication visibility, feedback-seeking and employee voice. Knowledge of communication visibility is extended by exploring its effects on employee voice. The current study also reveals the mediating mechanism underlying the associations between communication visibility and employee voice based on self-regulation theory.

This manuscript examines the patterns of information communication technology (ICT) use with friends and family outside of the home during the COVID-19 pandemic, and the associations among ICT use and psychological (i.e., loneliness; stress) and social (i.e., social needs; relationship maintenance) wellbeing. In early May 2020, a representative panel of American adults was surveyed (N = 1,947). Results suggest that despite 90% of the sample complying with shelter-in-place (SIP) orders, face-to-face contact with friends and family outside of the home was the primary predictor of getting one’s social needs met and mitigating loneliness. In contrast with predictions drawn from media richness theory, voice calls were associated with less stress, loneliness, and relationship maintenance difficulties, while video chat was positively associated with all three. Moderation analyses suggested that other factors (i.e., SIP, age) influenced the strength of association between modalities (i.e., face-to-face, email, social media) and outcomes. The theoretical implications for MRT and the practical implications for mediated sociality during the early stages of the COVID-19 pandemic are discussed.

Background: Novel Spinal Muscular Atrophy (SMA) treatments have demonstrated improvements on motor measures that are clearly distinct from the natural history of progressive decline. Comparable measures are needed to monitor bulbar function, which is affected in severe SMA. Objective: To assess bulbar function with patient-reported outcome measures (PROs) and determine their relationships with clinical characteristics. Methods: We recruited 47 non-ambulatory participants (mean (SD) age = 29.8 (13.7) years, range = 10.3–73.2) with SMA. PROs including Voice Handicap Index (VHI) and Eating Assessment Tool-10 (EAT-10) were collected alongside clinical characteristics and standardized motor assessments. Associations were assessed using Spearman correlation coefficients and group comparisons were performed using Wilcoxon rank sum tests. Results: A majority of the 47 participants were SMA type 2 (70.2%), non-sitters (78.7%), 3 copies of SMN2 (77.5%), and using respiratory support (66.0%). A majority (94%) reported voice issues primarily in 8/30 VHI questions. Problems included: difficulty understanding me in a noisy room (87.2%); difficult for people to hear me (74.5%); and people ask me to repeat when speaking face-to-face (72.3%). A majority (85.1%) reported swallowing issues primarily in 3/10 EAT-10 questions: swallowing pills (68.1%); food sticks to my throat (66.0%); and swallowing solids (61.7%). The two PROs were moderately associated (rs = 0.66). Conclusions: Weaker individuals with SMA experience bulbar problems including difficulties with voice and swallowing. Further refinement and assessment of functional bulbar scales will help determine their relevance and responsiveness to changes in SMA. Additional study is needed to quantify bulbar changes caused by SMA and their response to disease-modifying treatments.

The subject of this article is the process of influence of social engineers on people by manipulating consciousness, emotions, feelings without and with the use of modern information technology processing and simulation of biological characteristics of mankind in peacetime and wartime. The purpose and objectives are: consideration of existing methods of social engineering such as phishing, trojan, pretexting, watering hole, betting, quid pro quo, persecution, reverse social engineering through the prism of human feelings: naivety, inattention, greed, gullibility, curiosity, belonging fear; Consideration of modern technologies: handwriting forgery - My Text in your Handwriting algorithm, voice substitution - Descript's Ovrlab service, artificial dialogue - Replika application and face replacement - Deep Fake technology, which can help fraudsters to achieve their own goals of obtaining confidential data and carrying out further attacks based on them, as well as manipulating the consciousness of the real perception of events in wartime. The methods used are: psychological and sociological research methods, such as observation, social engineering methods, forecasting methods based on analysis and conclusions about future trends. The following results were obtained. Associations of methods of social engineering with feelings to which this or that psychological influence of the social engineer is directed are created. The potential of using emerging technologies with social engineering techniques to carry out more effective and sophisticated attacks, taking into account the favorite effects of criminals: haste, surprise, confusion, feelings of pity, anxiety, excitement and so on. The possibility of threats related to the procedures of authentication and authorization of users of biometric data on the basis of the considered modern technologies of imitation of biometric data of mankind: handwriting, voice, face. The scientific novelty of the research results is as follows: the importance and necessity of careful treatment of confidential information that people disseminate about themselves in all aspects of their social life; identified the main feelings on which social engineers play to achieve their own goals and benefit; the potential of development of modern technologies of imitation of biometric data of people in efficiency of carrying out attacks by methods of social engineering is specified, efficiency of use of means and methods of social engineering during information wars for influence on unstable psychological state is proved.

Objective To describe the effect of the coronavirus disease 2019 (COVID-19) pandemic on Latin American rheumatologists from a professional, economic, and occupational point of view. Methods We conducted an observational cross-sectional study using an online survey sent to rheumatologists of each non–English-speaking country member of the Pan American League of Rheumatology Associations (PANLAR). A specific questionnaire was developed. Results Our survey included 1097 rheumatologists from 19 Latin American countries. Median (IQR) age of respondents was 48 (40–59) years and 618 (56.3%) were female. Duration of practice since graduation as a rheumatologist was 17 years, and 585 (53.3%) were aged < 50 years. Most rheumatologists worked in private practice (81.8%) and almost half worked in institutional outpatient centers (55%) and inpatient care (49.9%). The median number of weekly hours (IQR) of face-to-face practice before the pandemic was 27 (15–40) hours, but was reduced to 10 (5–20) hours during the pandemic. Telehealth was used by 866 (78.9%) respondents during the pandemic. Most common methods of communication were video calls (555; 50.6%), telephone calls (499; 45.5%), and WhatsApp voice calls (423; 38.6%). A reduction in monthly wages was reported by 946 (86.2%) respondents. Consultation fees also were reduced and 88 (8%) rheumatologists stated they had lost their jobs. A reduction in patient adherence to medication was reported by nearly 50% of respondents. Eighty-one (7.4%) rheumatologists received a COVID-19 diagnosis and 7 (8.6%) of them were hospitalized. Conclusion The COVID-19 pandemic has reshaped rheumatology practice in Latin America and has had a profound effect on rheumatologists' behaviors and clinical practice.

AbstractThe meaning-making process in face-to-face interaction relies on the integration of meaningful information being conveyed by speech as well as the tone of voice, facial expressions, hand and head gestures, body postures and movements (McNeill 1992; Kendon 2004). Hence, it is inherently multimodal. Usage-based linguistics attributes language use a fundamental role in linguistic theorizing by positing that the language system is grounded in and abstracted from (multimodal) language use. However, despite this inherent epistemological link, usage-based linguists have hitherto conceptualized language as a system of interconnected verbal, i. e. monomodal units, leaving nonverbal usage aspects and the question of their potential entrenchment as part of language largely out of the picture.This is – at least at first sight – surprising because the usage-based model of Construction Grammar (C × G) seems particularly well-equipped to unite the natural interest of linguists in the units that define language systems with the multimodality of language use. Constructions are conceptualized as holistic “conventionalized clusters of features (syntactic, prosodic, pragmatic, semantic, textual, etc.) that recur as further indivisible associations between form and meaning” (Fried 2015: 974). Given its conceptual openess to all levels of usage features, several studies have recently argued for the need to open up the current focus of C × G towards kinesic recurrences (Günthner & Imo 2006; Deppermann 2011; Deppermann & Proske 2015; Andrén 2010; Schoonjans 2014; Schoonjans et al. 2015; Steen & Turner 2013; Zima 2014a; Zima 2014b, in press; Cienki 2012; Cienki 2015; Mittelberg 2014; Müller & Bressem 2014; Bergs 2015; Valenzuela 2015). Departing from the usage-based foundation of C × G which takes “grammar to be the cognitive organization of one’s experience with language” (Bybee 2006: 219), these studies suggest that the basic units of language, i. e. constructions, may be multimodal in nature.This paper presents some of the current issues for a Multimodal Construction Grammar. The aim is to frame the debate and to briefly summarize some of the discussion’s key issues. The individual papers in the special issue elaborate in more detail on particular points of discussion and/or present empirical case studies.

AbstractHuman nonverbal social signals are transmitted to a large extent by vocal and facial cues. The prominent importance of these cues is reflected in specialized cerebral regions which preferentially respond to these stimuli, e.g. the temporal voice area (TVA) for human voices and the fusiform face area (FFA) for human faces. But it remained up to date unknown whether there are respective specializations during resting state, i.e. in the absence of any cues, and if so, whether these representations share neural substrates across sensory modalities. In the present study, resting state functional connectivity (RSFC) as well as voice- and face-preferential activations were analysed from functional magnetic resonance imaging (fMRI) data sets of 60 healthy individuals. Data analysis comprised seed-based analyses using the TVA and FFA as regions of interest (ROIs) as well as multi voxel pattern analyses (MVPA). Using the face- and voice-preferential responses of the FFA and TVA as regressors, we identified several correlating clusters during resting state spread across frontal, temporal, parietal and occipital regions. Using these regions as seeds, characteristic and distinct network patterns were apparent with a predominantly convergent pattern for the bilateral TVAs whereas a largely divergent pattern was observed for the bilateral FFAs. One region in the anterior medial frontal cortex displayed a maximum of supramodal convergence of informative connectivity patterns reflecting voice- and face-preferential responses of both TVAs and the right FFA, pointing to shared neural resources in supramodal voice and face processing. The association of individual voice- and face-preferential neural activity with resting state connectivity patterns may support the perspective of a network function of the brain beyond an activation of specialized regions.

Abstract This replication study seeks to extend the generalizability of an exploratory study (McDonough et al., 2019) that identified holds (i.e., temporary cessation of dynamic movement by the listener) as a reliable visual cue of non-understanding. Conversations between second language (L2) English speakers in the Corpus of English as a Lingua Franca Interaction (CELFI; McDonough & Trofimovich, 2019) with non-understanding episodes (e.g., pardon?, what?, sorry?) were sampled and compared with understanding episodes (i.e., follow-up questions). External raters (N = 90) assessed the listener's comprehension under three rating conditions: +face/+voice, −face/+voice, and +face/−voice. The association between non-understanding and holds in McDonough et al. (2019) was confirmed. Although raters distinguished reliably between understanding and non-understanding episodes, they were not sensitive to facial expressions when judging listener comprehension. The initial and replication findings suggest that holds remain a promising visual signature of non-understanding that can be explored in future theoretically- and pedagogically-oriented contexts.

Visual information about speech content from the talker’s mouth is often available before auditory information from the talker's voice. Here we examined perceptual and neural responses to words with and without this visual head start. For both types of words, perception was enhanced by viewing the talker's face, but the enhancement was significantly greater for words with a head start. Neural responses were measured from electrodes implanted over auditory association cortex in the posterior superior temporal gyrus (pSTG) of epileptic patients. The presence of visual speech suppressed responses to auditory speech, more so for words with a visual head start. We suggest that the head start inhibits representations of incompatible auditory phonemes, increasing perceptual accuracy and decreasing total neural responses. Together with previous work showing visual cortex modulation (Ozker et al., 2018b) these results from pSTG demonstrate that multisensory interactions are a powerful modulator of activity throughout the speech perception network.

Abstract Background: The Bulgarian Ministry of Health invited the European Psychiatric Association (EPA) to evaluate Bulgarian mental health care service provision in 2018. Bulgarian mental health services face very significant challenges including a legacy of historic underfunding, internal conflicts, poor planning, and the emigration of very high numbers of younger skilled staff that had followed accession to the European Union. There were significant disputes between stakeholders regarding the way forward and had been at least two unsuccessful previous external agency interventions that had attempted to find solutions. Method: This EPA position paper describes in detail the EPA mission to Bulgaria including methodology, findings, recommendations, and finally the positive actions and changes that are now underway as a result of the EPA report and intervention aimed at contributing towards improving Bulgarian mental health services. Results: After meetings with multiple stakeholders in the Bulgarian mental health system and analysis of data on service delivery, workforce, funding and configuration the EPA Panel agreed a list of twenty recommendations for change. Conclusions: The EPA mission, with the collaboration of multiple stakeholders in Bulgaria, was successful in stimulating high level government action to improve mental health services. Despite longstanding differences, it was possible to involve the stakeholders in constructive dialogue. The importance of “speaking with one voice” was a key lesson learned.

Nowadays the tv media are in the face of an emergent phenomenon as it is the appearance of a new no organic lobby that questions the veracity of the television contents exercising at the time a strong quality control on the same ones. It is the new inspection of the interactive screen (computer-internet) above the directive screen (television). That that up to now was a passive viewer, subject of a vertical and hierarchical communication, passes to be involved in the information that receives and also becomes creator of contents, correcting and questioning the credibility of traditional television means and getting at the time a high influence level. Examples of this influence would be the recent resignations of two important American communicators as Dan Rather, consecrated journalist newsreader in the channel 'CBS', and Eason Jordan, director of information of the 'CNN' until his resignation. Both withdrawals were caused basically by the social mobilization taken place in a new generation that, from the blogosphere, makes hear its voice. The disorganization of this new influence group in the civil society, far from supposing an obstacle, guarantees in certain way its independence, in front of other organizations and viewers' associations whose effectiveness could be questioned bearing in mind the current situation of the television contents. The present television faces the challenge than means the level of exigency from a new generation of spectators for who, they are no longer the main source of information, but only a member more of an universe of global communication multi-screen and therefore will have to fight for their primacy in a world in which the user have the opportunity to access to a very superior informative offer, even changing from passive receiver to emitting agent able to carry out an interesting work facing the control of quality of the audio-visual products that spread from the different commercial and/or public broadcasters. El pasado año, el Instituto Nacional del Consumo realizó un sondeo sobre los hábitos de consumo de la televisión y de nuevas tecnología de la infancia y la juventud que desvelaba datos tan significativos como que el consumo solitario de la televisión se va consolidando, frente al tradicional consumo en familia. Así mismo destacaba el hecho de que la ausencia (o escasa presencia) de una programación infantil dirigida específicamente a la infancia, no impide que los niños se estrenen como «consumidores» de televisión a edades muy tempranas: la mayoría entre los 2 y los 3 años. Por otro lado, en las Jornadas de Política y Periodismo llevadas a cabo en la ciudad de Estepona el pasado 13 de julio, se destacó el hecho de que hay una franja de edad entre los 17 y 25 años para quienes la televisión se ha convertido en un medio marginal como fuente de información. En este marco, parece adecuado cuestionarse la calidad de los contenidos televisivos y como los receptores de esos contenidos puede influir en ellos con algo más que con unos determinados índices de audiencia que, salvo excepciones, en nada se corresponden con los criterios de calidad exigibles a un servicio público. Por ello, en este artículo se verá cómo en la actualidad los medios televisivos se encuentran ante un novedoso fenómeno emergente: la aparición de un nuevo lobby no orgánico que cuestiona la veracidad de sus contenidos, ejerciendo de esta manera un fuerte control de calidad sobre los mismos. Es la nueva fiscalización de la pantalla interactiva (ordenador-internet), sobre la pantalla directiva (televisión). Lo que hasta ahora era un telespectador pasivo, sujeto a una comunicación vertical y jerarquizada, está pasando a involucrarse en la información que recibe y además se convierte en creador de contenidos, corrigiendo y cuestionando la credibilidad de medios televisivos tradicionales y consiguiendo al tiempo un elevado nivel de influencia. Ejemplos de dicha presión serían las recientes dimisiones de dos importantes comunicadores estadounidenses como Dan Rather, consagrado periodista presentador de informativos en la cadena CBS, y Eason Jordan, director de información de la CNN hasta su retirada. Ambos abandonos fueron provocados básicamente por la movilización social producida en una nueva generación que, desde la blogosfera hace oír su voz. La desestructuración de este nuevo grupo de influencia en la sociedad civil, lejos de suponer un obstáculo, garantiza en cierto modo su independencia, frente a otras organizaciones y asociaciones de telespectadores cuya efectividad podría ser cuestionada a tenor de la situación actual de los contenidos televisivos. La televisión actual se enfrenta hoy día al reto de asumir una nueva generación de espectadores, para quienes ya no es su única fuente de información, sino sólo un miembro más de un universo de comunicación global multipantalla, y por tanto tendrá que luchar por su primacía en un mundo en el que el usuario accede a una oferta informativa muy superior, incluso mutando de receptor pasivo a agente emisor capaz de desempeñar una interesante labor de cara al control de calidad de los productos audiovisuales que se difunden desde las diferentes emisoras comerciales y/o públicas.

Abstract Background The COVID-19 pandemic has generated worldwide scarcity of critical resources to protect against and treat disease. Shortages of face masks and other protective equipment place health workers, already on the frontline of the disease, at higher risk. Moral distress from making difficult decisions about allocating scarce resources and care to patients ill with COVID-19 can further add to burdens health workers face. This study investigates clinical health workers’ risk perceptions and concerns about the ethics of their clinical decision-making, the actions of their institutions to address resource scarcity concerns during the COVID-19 pandemic, and their ability to voice safety concerns, as well as their own views on how scarce resources should be allocated. Methods An online survey was open to health care workers who provide clinical care to patients, with no specialty training or geographic location requirements, from May 19 to June 30, 2020. Participants were recruited through purposive sampling using medical association and institutional email lists, and by snowball sampling. Results Of 839 participants, a majority were physicians (540, 69.4%) working in academic medical centers (270, 35.2%) or private health systems in the community (234, 30.5%) in the USA (760, 90.7%). Most reported being concerned about their own health (494, 73.6%) and about the possibility of spreading COVID-19 to family and friends (534, 85.9%) during the pandemic. All respondents reported shortages or rationing of at least one type of medical resource (e.g., sanitizing supplies and personal protective equipment). More than half of respondents (351, 53.9%) did not feel they received sufficient training in how to allocate scarce resources in the pandemic. Many felt moral distress related to conflicts between institutional constraints and what they believed was right (459, 66.5%). Though a majority (459, 67.7%) reported feeling “comfortable” internally communicating with their administration about safety issues, far fewer reported feeling “confident” speaking publicly about safety issues without retaliation from their institution (255, 37.3%). Conclusions In the face of limited resources, surveyed health care workers reported concern about their own and their families’ health from exposure. Securing adequate protective equipment must be a high priority for pandemic management. In addition, more governmental and facility-level ethical guidance is required for allocation of resources given ongoing scarcity, and facilities must create conditions so health care workers can speak openly about safety issues without fear of retaliation.

PurposeWorkplace social courage is a courageous behavior that can damage the actor's social relationships, social image and accrue face-loss costs. Sometimes, it is difficult to differentiate courageous behavior from incivility that predicts higher levels of psychological distress. While workplace social courage is widely discussed in the management literature, less is known about the conditions under which individuals are more or less likely to exhibit courageous behaviors. Given the theoretical considerations, in the present study, the authors consider two indicators of quality of life, which are life satisfaction and happiness, and set the aim of the study as to investigate the relationships between organizational justice and two dimensions of quality of life – life satisfaction and happiness – with particular attention to the mediation function performed by courage.Design/methodology/approachCross-sectional survey data (n = 408) were obtained from employees working in Turkey Fortune companies and analyzed with variance-based structural equation modeling (VB-SEM) technique.FindingsThe results showed that perceived organizational justice is a strong antecedent for workplace social courage. Workplace social courage emerges as a facilitator for subjective happiness and life satisfaction. Workplace social courage mediated the association between perceived organizational justice and subjective happiness, and between perceived organizational justice and life satisfaction. Prescriptions for theory development and practitioners are highlighted, research limitations and future directions are acknowledged.Originality/valueSo far, most of the work done in this subject is mainly in western countries, and it is considered as a virtue, feature, emotion and behavior in the studies of social scientists, and mainly focused on how employees need the courage to perform the desired behaviors that affect organizational outcomes positively such as organizational citizenship behavior, job performance, job satisfaction, life satisfaction, psychological well-being. Also, the authors studied how social courage positively relates to beneficial voice and silence, as well as negatively relates to detrimental voice and silence, how courage is correlated with psychological empowerment, coaching and how courage mediates on quality of life. As can be seen, there is little empirical work when it comes to the antecedents of courage in business life. Therefore, this study, which has been done with different variables in a different culture and country, aims to support and bring a new breath to the subject. Besides, the mediating effect of courage on the organizational variables is also among the trendiest subjects.

Purpose This study aims to examine the association between annual report readability and accounting irregularities in Indonesia. Using 967 firm-year observations over the 2014–2017 period, this paper unable to find evidence that annual report readability is associated with accounting irregularities. The results are robust after using alternate measurements of accounting irregularities proxies and readability indexes. This paper also finds that the corporate governance mechanism and foreign shareholder structure did not moderate the association between annual report readability and accounting irregularities. Design/methodology/approach The study uses an archival method with cross-sectional regression of 967 firm-year observations over the 2014–2017 period to investigate an association between annual report readability and accounting irregularities in an emerging market setting. To check the robustness of the results, this paper conducts a battery of robustness tests. Findings This paper finds evidence that annual report readability is not associated with accounting irregularities in Indonesia. The results are robust after using alternate measurements of accounting irregularities proxies and readability indexes. This paper also finds that the corporate governance mechanism and foreign shareholder structure did not moderate the association between annual report readability and accounting irregularities. This implies that the readability of annual reports does not have the ability to predict the likelihood of accounting irregularities in Indonesia. It is possible that firms with accounting irregularities will be inclined to voice simpler stories which can counteract the tendency of lies to be linguistically more complex. Indeed, according to the Education First English Proficiency Index, Indonesia is categorized at a low proficiency level. Furthermore, this paper also discovers that the average readability of the management discussion and analysis (MD&A) of Indonesian public listed firms is at an ideal score by having a Fog Index of 13.32. The findings provide valuable insights for stakeholders in using annual reports for their decision-making, especially in an emerging market setting and non-English speaking countries. Research limitations/implications It is important to interpret the findings in the context of the limitations of the readability index the authors used. It is argued that Fog Index, Flesch-Kincaid and Flesch Reading Ease have their own limitations as considered inadequate to be used in the context of business and accounting narratives that are adult-oriented and specialist in nature (Jones and Shoemaker, 1994; Loughran and McDonald, 2014). Another caveat relates to the use of proxies for accounting irregularities. The M-Score and F-Score have some limitations in which, among others, were determined without considering the normal level of accruals or period where manipulations were absent (Ball, 2013). Practical implications One reason underlying the result is that Indonesian firms, in general, do not consider the complexity of the annual report, particularly MD&A disclosures, as a tool to mask financial reporting irregularities. It is also possible that firms with accounting irregularities will incline to voice simpler stories because it is difficult to be untruthful (Lo et al., 2017). Indeed, according to Education First English Proficiency Index, Indonesia was categorized in low proficiency level and ranked 61st out of 100 countries being surveyed (Education First, 2019). As policymakers, locally and globally, are calling for more simplified reports including a plain English approach, the study can be insightful to their deliberations. It suggests that policymakers need to consider a country’s English proficiency, writing skills, regulatory environment and corporate policy on shaping the complexity and narrative of a firm’s communications. Originality/value The study contributes to a scarcity of research that investigates English-written annual reports in non-English speaking countries (Jeanjean et al., 2015; Lundholm et al., 2014). As such, the study findings provide insights related to MD&A in an under-researched area and contribute to improving MD&A not only in Indonesia but also in neighbor countries that share similar social, political and economic characteristics. Also, this study is important for foreign institutions or individuals investing on Indonesian-listed firms. According to Candra (2016), approximately 60% of companies listed in the Indonesia stock exchange are owned by foreign individuals or institutions. They rely greatly on the English texts of annual reports to understand the companies’ financial performance. Moreover, La Porta et al. (2002) asserted that firms with a majority of foreign shareholders (dominantly owned by foreign investors) are more likely to face information asymmetry, primarily due to geographical factors and language barriers.

PANDEMONIUM / Yonatan Vinitsky bq. 03min. 23sec. / B/W + Colour / Sound [Stereo], English Narration bq. Completed: 12/2003 / UK / Distribution: Heure Exquise! The video PANDEMONIUM (2003) opens with the following voice over: The landscape of body / The texture of skin / The movements that were frozen / Unfolding changes / Permanent recollection of yourself / Exhale / And inhale / Exhale and inhale / Exhale and inhale. This text stakes out the arenas where the film operates – the permanent and the frozen, textures and landscapes, changes and recollection, and body and skin. PANDEMONIUM considers these issues in senses both visual and technical, and through the script and text. From a technical point of view, PANDEMONIUM is a film ‘without’ a camera, a ‘scan-film’ where the scanner substitutes for the camera. Constructed from 40 images of a man’s face in various positions and close-ups, and from sheets of coloured sticky dots, the images were scanned by placing the face or the stickers directly on the scanner plate. Captured scans were transferred to Photoshop where they were cropped and edited. These still images were edited together digitally, the video edited frame by frame to produce movement and rhythms. The speed of the images is erratic and a slow, monotone soundtrack and narration provide a rhythm for the piece sometimes at odds with the vision. Using a scanner (a domestic scanner) to piece together a video, a moving image, the function and the definition of the scanner itself is questioned. In the video the imagery and the text are being used as key elements to examine various possibilities of scanning technology. The term scan usually implies the exploring of something quickly (as an action), but at the same time this allows us to analyze and explore the result in extreme depth and over a matter of time. Hence, a contradiction arises between the action of scanning and its purpose. This contradiction is one of the key elements of PANDEMONIUM; using the scanned images as single frames, allowing the result to turn into footage, and for other ‘scans’ to appear using various rhythms and speeds. PANDEMONIUM functions as a beam of light, transmitting an illumination into the space, allowing the spectator a reflection on what they are being subliminally exposed to, rather than ‘seeing’. At the same time it is important to mention the reading of PANDEMONIUM as a film that encourages scanning as a mode of watching, through presenting the information quickly by showing glimpses of images in sequences of one-frame – the experience of watching can change every screening depending on the spectator’s awareness and patience. (In this sense it is interesting to mention that the Internet version of the film, due to its compression, actually loses some frames every second. This means that images are missing in the patterns and rhythms that originally were constructed, and leads to a new version being conceived.) The act of scanning turns the object into a digital file. The scanning actually ‘digitises’ the person’s face and allows it to become part of the video vocabulary. In that sense the scanner (through the act of scanning) authorises the object in becoming an image. The difference between a scanner and a video camera is in the method of capturing an image. While a video camera records the image on a digital tape, printing the image that is taken by its lens vision, the scanner works systematically, scans the image in parts, from one side to another, in a fixed time (depending on the object and settings). Another difference is the direct contact between the object and the screen (scanner plate). These facts allow a different kind of freedom and creativity while in the making; they can offer a real time change and the opportunity to create an effect of change and metamorphosis in the act of capturing. In addition, the scanning allows blowing up an image and examining it closely. In PANDEMONIUM, a portrait of a man’s face is being created by breaking its image into bits and pieces, each time blowing up a different part of the face, allowing a new face to be conceived. PANDEMONIUM also explores the relation of the scanner and the body. The term scan is also used in medical terminology as a method of exploring different parts of the body in medical inner-body scans. In PANDEMONIUM, there is an attempt of exploring the body and face as a landscape and texture but at the same time as something very exposed and personal – turning the exterior into interior, and the images into memory and recollection, disconnecting them from their original meaning and connecting them with association and remembrance: Do you remember youth? / Reflection of body parts in your imagination / All was real / The voice. The look. The touch. / It was warm. PANDEMONIUM explores the uses to which domestic scanners can be put, challenging the range of things that can be captured as well as their mode of capture. Placing the face on the scanner challenges both our engagement with a scanner – usually it is being used for previously captured documents and the variety of things that can be scanned. Scanning is always related with perception, and PANDEMONIUM explores this relationship. The film finishes with this text: Stop looking at me like that. / Shifting yourself all the time from A to B / From B to C and back again / A B C / One two three / One two three / One two three. To whom is this text directed – the scanner itself that scans systematically and moves from A to B, to the different images, or maybe to the character in the images? Possibly to all three at the same time, and to no one. PANDEMONIUM is built on contradictions that create a state of confusion and inferno, a place of warm and cold and the feeling of a ‘private’ PANDEMONIUM. Citation reference for this article MLA Style Vinitsky, Yonatan. "PANDEMONIUM." M/C Journal 8.4 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0508/04-vinitsky.php>. APA Style Vinitsky, Y. (Aug. 2005) "PANDEMONIUM," M/C Journal, 8(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0508/04-vinitsky.php>.

Helen Harrison in her opening editorial in issue number 2 of the IASA Journal notes, “...on no account should we be complacent about the Journal or other IASA publications, ideas for change are always welcome and material for inclusion even more so.” She was contemplating the state of the Journal on the heels of its transformation from the Phonographic Bulletin (1971–1993) to the IASA Journal (1993–present). The name had changed, but Harrison took the role of editor with ideas for additional improvements to the structure, content, operation, and aesthetics of the Journal; and she found herself also faced with the task of developing a new reputation for the newly minted IASA Journal. That was 26 years ago, and the IASA Journal has now been the IASA Journal longer than it was the Phonographic Bulletin. The transformation, we can say, was a success. Today, in 2018, as editor, I face a similar challenge: whether to transform the IASA Journal to an e-Journal, and whether to push for an open access model for content in the IASA Journal. These are two slightly independent changes that I am proposing for the Journal, and both have a variety of options associated with them. The IASA Journal as an e-Journal When we think about the IASA Journal as an electronic journal, we can consider it with or without a printed version. At one extreme, we can imagine an online platform that serves as the only access point to IASA Journal publications. Such a platform can provide a variety of discovery and access options for IASA Journal content, including text-based search, author indexes, online reading via PDF or HTML, syndication for subscribers, and API access for data aggregators, among others. We can also imagine these online access options with additional options for printed issues, either “on-demand” or in small batches. At the opposite extreme, we could imagine the same full print scenario we have today with the addition of an online access point with the options I mention above (although, this option, of course, requires the greatest cost to the organization). These are the types of options we are considering as we develop a strategy for moving the IASA Journal to an online home. The IASA Journal as an Open Access Journal A related question, once the Journal has an e-Journal access point, is whether the content of the IASA Journal should remain closed to the World, open only to IASA members and subscribers, for five years after its publication. This has been, and still is, the policy of the IASA Journal. But, should it be? Does such a policy support the central mission of IASA, as stated in its constitution, “to promote, encourage, and support the development of best professional standards and practice in all countries through communication, cooperation, advocacy, promulgation, dissemination, training and/or education, amongst public or private archives or libraries, institutions, businesses, organisations and associations which share these purposes?” Could we, as an organization, do better to disseminate the writings in the Journal to the global audiovisual archives community? Could we, instead of using the content as bait for membership, rather use the content as a shared resource that enriches IASA’s network and entices new members to the organization? Launching an e-Journal does not require IASA to provide Open Access to the content; it merely offers the opportunity, and because of that, I think it valuable to have the conversation. So, these are the types of access questions that we are also considering as we develop a strategy for the IASA Journal online platform. If you, as a IASA member or subscriber, have thoughts on these topics, please feel free to reach out to me at editor@iasa-web.org. I am eager to hear from you. The Issue at Hand This issue, our third peer-reviewed issue, features a wide variety of topics important to the audiovisual archives communities today, including digital preservation, born-digital video, contemporary memories, diversification of the archive(s), repatriation of colonial and radio collections, and building stronger connections between archives and users of archival collections. The issue commences with three profiles highlighting the human labor that underlies all archives and archival collections. In Ghana, Judith Opoku-Boateng interviews J. H. Kwabena Nketia about his work recording the songs and interviews that would become the cross-cultural foundation for the J. H. Kwabena Nketia Archives of the Institute for African Studies at the University of Ghana. In Australia, Melinda Barrie talks with sound scholar Robyn Holmes about her lifelong passion to dissemination and document Australian music. And, in Italy, Ettore Pacetti and Daniela Floris discuss the pioneering fieldwork of the Italian ethnomusicologist, Diego Carpitella, and how his efforts laid the seeds for the current project of the Audiovisual Archives at RAI Teche to bring Italian cultural heritage to a worldwide audience. Paul Conway and Kelly Askew, both of the University of Michigan, provide a glimpse into efforts to organize, describe, and “re-broadcast” content from Voice of America’s radio program Music Time in Africa to new audiences. Conway and Askew contextualize the issues associated with providing access to cultural heritage resources, and conclude with a proposal for a proactive strategy for online dissemination. Approaching the topic of repatriation of cultural heritage from another angle, Diane Thram, from the International Library of African Music in South Africa, articulates the effort that she and her colleagues undertook to hand-deliver (or, digitally return) recorded copies of performances to musicians across the African continent. Beginning with Uganda, and then Kenya, Thram and colleagues located performers and descendents from recordings made by Hugh Tracey and coordinated visits to return and re-study the music and performances that had been recorded more than 50 years ago with musicians in these locales. Together, these two articles offer a thorough glimpse into the theory and practice of post-colonial archival practice. Reformulating a talk that was delivered at this year’s IASA conference in Berlin, Gisa Jähnichen of the Shanghai Conservatory of Music in China, along with colleagues Ahmad Faudzi Musib (Malaysia), Thongbang Homsombat (Laos), Chinthaka Prageeth Meddegooda (Sri Lanka), and Xiao Mei (China), take a close look at the successes and failures they see in the small-scale audiovisual archives where they work in China, Malaysia, Laos, and Sri Lanka. The work of these authors lays a foundation for conversations about how to ensure that audiovisual archives maintain living networks and continue to develop capacity within and outside of the archives themselves. If smaller archives in Asia are to sustain themselves in the digital present, what are the key issues that must be addressed? And, what can archives in other regions of the world learn from this study? The remaining articles in this issue move from questions of the management of archives, to technical questions about the digital infrastructures and digital formats that we are facing in audiovisual archives today. Silvester Stöger, from NOA in Austria, looks at the needs of broadcast archives with regard to production and preservation workflows, describing the values of an archive asset management system that can integrate with other business systems in a broadcast environment. Iain Richardson, from Vcodex, Ltd. in the UK, illustrates the lossy process of data reduction as a compression technique in digital video, offering insight into quantitative and qualitative methods to compare quality in digital video objects. From the Alexander Turnbull Library, National Library of New Zealand, Valerie Love describes the changes that the acquisition of born-digital content, specifically oral history content, has brought to the archive’s standard operating procedures. Wrapping up this issue, Ariane Gervásio, from the Brazilian Association of Audiovisual Archives, challenges readers to re-imagine the concept of personal memories in today’s transmedia world, where traditional concepts of content and media—e.g., a song exists as a single recording in a single place—must be understood as a multifarious entity, perhaps existing initially as a video posted to one web platform, yet then interacted with by users in another web platform, leaving a complex trail of engagement that ultimately constitutes the object that will be collected by an archive. Are we, as audiovisual archivists, ready to conceive of contemporary born-digital content in this way? Do we have a choice? I look forward to hearing your thoughts on the contents of this Issue, as well as on the future of the IASA Journal. Bertram Lyons, CAIASA Editor

The development of our theme for this issue of M/C was guided in part by our respective interests in 'texts' as both literary artifacts and formally designed entities. That said, in the usual spirit of M/C, the issue's ultimate editorial direction was cemented based on the range of submissions we received and selected. It is a particular challenge to distill key elements of an ongoing research project into an informative and credible textual package of just 1500 words. That said, we're delighted to present eight original short essays, along with an extended feature article; between them they cover a variety of 'textual' media such as graffiti, visiting cards, experimental film, and money. They also present a degree of breadth in the manner of their subjects' textuality. This includes: handwriting; printing (of ink on paper and the chemical processing of celluloid); typing in/to cyberspace; and engraving into metal and plastic. This issue’s feature article, Esther Milne’s “Magic Bits of Paste-board: Texting in the Nineteenth Century”, explores the notion of telepresence—substitution of the text for the corporeal body—through a consideration of nineteenth-century visiting cards, those “complex cultural avatars” that “conveyed the desires of class and gender in the construction of identity”. Through her discussion of the “complex language system” represented by the visiting card, Milne argues for an understanding of telepresence that extends beyond modern electronic media. In contrast to Milne’s analysis of visiting cards as nineteenth-century text messages is Gerard Goggin’s “mobile text”, a genealogy of the spectacularly successful short text messaging on mobile phones. Emphasising the fact that the popularity of SMS derives from its use by consumers, not its development by phone companies, Goggin explores the origins of SMS, the associated “elision, great compression, and open-endedness” of the short text messages, and the increasing commodification of the process of texting. This is an engagement with the textual artifact at the centre of “open-source, open-architecture, publicly usable nodes of connection”. Exploring in part a similar notion to that raised in Milne’s concluding analysis of the carte-de-visite, Sheryl Brahnam’s “Type/Face: The Missing Face of Writing” considers the human face as a text, from Socrates’s notion that writing’s inferiority to speech lies in the former’s lack of a human face, through the post-Renaissance obsession with physiognomy, through the modern mass consumption of the human face on television and in print. All this, Brahnam argues, leads to the modern interest in virtual faces, specifically the self-modelling “smart faces”. The smart face is a text that not only invites reading, but constantly rewrites itself. "Reading in the Dark: Michael Snow’s So Is This" offers a thoroughly engaging exploration of a piece of work by the Canadian experimental filmmaker (and jazz musician) Michael Snow. In Jane Simon's short essay we learn that So Is This was created in part as a response to the censoring of one of his existing films, and to the political objections raised by the imagery in yet another Snow film. So Is This is entirely devoid of images; indeed, its special relevance to this issue of M/C is its sole reliance on typeset words, producing what Simon calls a "supervised reading" that is unavoidable and "frustrating—some words are held on the screen for nearly a minute, causing all kinds of bodily aches and irritations—and also very entertaining". For Simon, then, "a whole discussion about critical writing practices seems to vibrate within the humorous and ‘light’ text of So Is This. It could be read as a film on film criticism, or at least a response to the methods of film writing, but it is about a lot of other things as well." In Jordan Williams’s “The Stigmata or the Tattoo: Eternity and the National Museum of Australia”, the notion of text under consideration is both narrowed and expanded. Williams considers not only the Museum as a readable text, but also engages with the building’s association with the more specific textual artifact that is Arthur Stace’s “Eternity” script, tracing the evocation of this text both inside and outside the building in terms of theories of tattoo versus stigmata. The fictional piece for this issue is Janet Jones’s “Interactive Essay Simulation”, in which dreams and reality, handwriting and electronic text, fuse to form a coherent but nightmarish textual world in which “the real world threatens back at gigabyte speed with Search Engine headlines proclaiming WAR, DISEASE, FAMINE, TERROR and AIDS”. In a piece that shares some of the same concerns as our feature article, Donna Lee Brien provides some fascinating insights into the nuanced process of "ventriloquizing": the invention of a pseudo-autobiographical account of certain aspects of an Australian woman's life using extensive archival research as a point of departure. "Imagining Mary Dean: Representing Another’s Life in Text" discusses the literary and ethical implications of this act, and Brien's attempts to develop a suitably authentic voice. This is made all the more compelling given the harrowing circumstances of Dean's early life in nineteenth-century Sydney, Australia, and the questions that remain about her ultimate fate. In “'Aren’t You Cool, You can Scribble Illegibly on Toilet Walls': Some Reflections on Graffiti in the Academy", Toby Ganley parses the representational codes of two pieces of related graffiti he once encountered in a university washroom. The first he identifies as a distinctive signature or ‘tag'; the second, reproduced in the title of his paper, is a entirely legible response to the tag. For Ganley, then, the result is a public dialogue of sorts that brings into question the intentionality of the graffiti's authors, and "exposes the gap between representation and the represented". "'Show Me the Money!': The Ideological Evolution of Monetary Form" explores the physical manifestations of currency - from silver to copper, paper and, ultimately, to plastic. In this paper, Sergio Rizzo discusses the graphical ephemera - symbols, mottos, even holograms - that adorn money in all its forms, in order to trace some of its semantic contours. As he says: "the different materials and their specific textual forms become the dominant, if not always preferred, means of transferring and storing value or wealth in their respective capitalist phases". Finally, we present an article that engages with a less fluid notion of “text” and its social significance. Simone Pettigrew's contribution is an informed, highly pragmatic discussion regarding the physical appearance and legibility of the printed word. In "Creating Text for Older Audiences" she argues that "the physical changes associated with aging have significant implications for the design and presentation of text". Scientific evidence points to the necessity for certain design features that can anticipate the inevitable changes in physiology and cognitive capacity that accompany aging. Citation reference for this article MLA Style Mills, Catriona & Soar, Matt. "Editorial" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0401/01-editorial.php>. APA Style Mills, C. & Soar, M. (2004, Jan 12). Editorial. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0401/01-editorial.php>

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Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussion of nature and culture together.) It’s no news to anyone that not only adaptations, but all art is bred of other art, though sometimes artists seem to get carried away. My favourite example of excess of association or attribution can be found in the acknowledgements page to a verse drama called Beatrice Chancy by the self-defined “maximalist” (not minimalist) poet, novelist, librettist, and critic, George Elliot Clarke. His selected list of the incarnations of the story of Beatrice Cenci, a sixteenth-century Italian noblewoman put to death for the murder of her father, includes dramas, romances, chronicles, screenplays, parodies, sculptures, photographs, and operas: dramas by Vincenzo Pieracci (1816), Percy Bysshe Shelley (1819), Juliusz Slowacki (1843), Waldter Landor (1851), Antonin Artaud (1935) and Alberto Moravia (1958); the romances by Francesco Guerrazi (1854), Henri Pierangeli (1933), Philip Lindsay (1940), Frederic Prokosch (1955) and Susanne Kircher (1976); the chronicles by Stendhal (1839), Mary Shelley (1839), Alexandre Dumas, père (1939-40), Robert Browning (1864), Charles Swinburne (1883), Corrado Ricci (1923), Sir Lionel Cust (1929), Kurt Pfister (1946) and Irene Mitchell (1991); the film/screenplay by Bertrand Tavernier and Colo O’Hagan (1988); the parody by Kathy Acker (1993); the sculpture by Harriet Hosmer (1857); the photograph by Julia Ward Cameron (1866); and the operas by Guido Pannain (1942), Berthold Goldschmidt (1951, 1995) and Havergal Brian (1962). (Beatrice Chancy, 152) He concludes the list with: “These creators have dallied with Beatrice Cenci, but I have committed indiscretions” (152). An “intertextual feast”, by Clarke’s own admission, this rewriting of Beatrice’s story—especially Percy Bysshe Shelley’s own verse play, The Cenci—illustrates brilliantly what Northrop Frye offered as the first principle of the production of literature: “literature can only derive its form from itself” (15). But in the last several decades, what has come to be called intertextuality theory has shifted thinking away from looking at this phenomenon from the point of view of authorial influences on the writing of literature (and works like Harold Bloom’s famous study of the Anxiety of Influence) and toward considering our readerly associations with literature, the connections we (not the author) make—as we read. We, the readers, have become “empowered”, as we say, and we’ve become the object of academic study in our own right. Among the many associations we inevitably make, as readers, is with adaptations of the literature we read, be it of Jane Austin novels or Beowulf. Some of us may have seen the 2006 rock opera of Beowulf done by the Irish Repertory Theatre; others await the new Neil Gaiman animated film. Some may have played the Beowulf videogame. I personally plan to miss the upcoming updated version that makes Beowulf into the son of an African explorer. But I did see Sturla Gunnarsson’s Beowulf and Grendel film, and yearned to see the comic opera at the Lincoln Centre Festival in 2006 called Grendel, the Transcendence of the Great Big Bad. I am not really interested in whether these adaptations—all in the last year or so—signify Hollywood’s need for a new “monster of the week” or are just the sign of a desire to cash in on the success of The Lord of the Rings. For all I know they might well act as an ethical reminder of the human in the alien in a time of global strife (see McGee, A4). What interests me is the impact these multiple adaptations can have on the reader of literature as well as on the production of literature. Literature, like painting, is usually thought of as what Nelson Goodman (114) calls a one-stage art form: what we read (like what we see on a canvas) is what is put there by the originating artist. Several major consequences follow from this view. First, the implication is that the work is thus an original and new creation by that artist. However, even the most original of novelists—like Salman Rushdie—are the first to tell you that stories get told and retold over and over. Indeed his controversial novel, The Satanic Verses, takes this as a major theme. Works like the Thousand and One Nights are crucial references in all of his work. As he writes in Haroun and the Sea of Stories: “no story comes from nowhere; new stories are born of old” (86). But illusion of originality is only one of the implications of seeing literature as a one-stage art form. Another is the assumption that what the writer put on paper is what we read. But entire doctoral programs in literary production and book history have been set up to study how this is not the case, in fact. Editors influence, even change, what authors want to write. Designers control how we literally see the work of literature. Beatrice Chancy’s bookend maps of historical Acadia literally frame how we read the historical story of the title’s mixed-race offspring of an African slave and a white slave owner in colonial Nova Scotia in 1801. Media interest or fashion or academic ideological focus may provoke a publisher to foreground in the physical presentation different elements of a text like this—its stress on race, or gender, or sexuality. The fact that its author won Canada’s Governor General’s Award for poetry might mean that the fact that this is a verse play is emphasised. If the book goes into a second edition, will a new preface get added, changing the framework for the reader once again? As Katherine Larson has convincingly shown, the paratextual elements that surround a work of literature like this one become a major site of meaning generation. What if literature were not a one-stage an art form at all? What if it were, rather, what Goodman calls “two-stage” (114)? What if we accept that other artists, other creators, are needed to bring it to life—editors, publishers, and indeed readers? In a very real and literal sense, from our (audience) point of view, there may be no such thing as a one-stage art work. Just as the experience of literature is made possible for readers by the writer, in conjunction with a team of professional and creative people, so, arguably all art needs its audience to be art; the un-interpreted, un-experienced art work is not worth calling art. Goodman resists this move to considering literature a two-stage art, not at all sure that readings are end products the way that performance works are (114). Plays, films, television shows, or operas would be his prime examples of two-stage arts. In each of these, a text (a playtext, a screenplay, a score, a libretto) is moved from page to stage or screen and given life, by an entire team of creative individuals: directors, actors, designers, musicians, and so on. Literary adaptations to the screen or stage are usually considered as yet another form of this kind of transcription or transposition of a written text to a performance medium. But the verbal move from the “book” to the diminutive “libretto” (in Italian, little book or booklet) is indicative of a view that sees adaptation as a step downward, a move away from a primary literary “source”. In fact, an entire negative rhetoric of “infidelity” has developed in both journalistic reviewing and academic discourse about adaptations, and it is a morally loaded rhetoric that I find surprising in its intensity. Here is the wonderfully critical description of that rhetoric by the king of film adaptation critics, Robert Stam: Terms like “infidelity,” “betrayal,” “deformation,” “violation,” “bastardisation,” “vulgarisation,” and “desecration” proliferate in adaptation discourse, each word carrying its specific charge of opprobrium. “Infidelity” carries overtones of Victorian prudishness; “betrayal” evokes ethical perfidy; “bastardisation” connotes illegitimacy; “deformation” implies aesthetic disgust and monstrosity; “violation” calls to mind sexual violence; “vulgarisation” conjures up class degradation; and “desecration” intimates religious sacrilege and blasphemy. (3) I join many others today, like Stam, in challenging the persistence of this fidelity discourse in adaptation studies, thereby providing yet another example of what, in his article here called “The Persistence of Fidelity: Adaptation Theory Today,” John Connor has called the “fidelity reflex”—the call to end an obsession with fidelity as the sole criterion for judging the success of an adaptation. But here I want to come at this same issue of the relation of adaptation to the adapted text from another angle. When considering an adaptation of a literary work, there are other reasons why the literary “source” text might be privileged. Literature has historical priority as an art form, Stam claims, and so in some people’s eyes will always be superior to other forms. But does it actually have priority? What about even earlier performative forms like ritual and song? Or to look forward, instead of back, as Tim Barker urges us to do in his article here, what about the new media’s additions to our repertoire with the advent of electronic technology? How can we retain this hierarchy of artistic forms—with literature inevitably on top—in a world like ours today? How can both the Romantic ideology of original genius and the capitalist notion of individual authorship hold up in the face of the complex reality of the production of literature today (as well as in the past)? (In “Amen to That: Sampling and Adapting the Past”, Steve Collins shows how digital technology has changed the possibilities of musical creativity in adapting/sampling.) Like many other ages before our own, adaptation is rampant today, as director Spike Jonze and screenwriter Charlie Kaufman clearly realised in creating Adaptation, their meta-cinematic illustration-as-send-up film about adaptation. But rarely has a culture denigrated the adapter as a secondary and derivative creator as much as we do the screenwriter today—as Jonze explores with great irony. Michelle McMerrin and Sergio Rizzo helpfully explain in their pieces here that one of the reasons for this is the strength of auteur theory in film criticism. But we live in a world in which works of literature have been turned into more than films. We now have literary adaptations in the forms of interactive new media works and videogames; we have theme parks; and of course, we have the more common television series, radio and stage plays, musicals, dance works, and operas. And, of course, we now have novelisations of films—and they are not given the respect that originary novels are given: it is the adaptation as adaptation that is denigrated, as Deborah Allison shows in “Film/Print: Novelisations and Capricorn One”. Adaptations across media are inevitably fraught, and for complex and multiple reasons. The financing and distribution issues of these widely different media alone inevitably challenge older capitalist models. The need or desire to appeal to a global market has consequences for adaptations of literature, especially with regard to its regional and historical specificities. These particularities are what usually get adapted or “indigenised” for new audiences—be they the particularities of the Spanish gypsy Carmen (see Ioana Furnica, “Subverting the ‘Good, Old Tune’”), those of the Japanese samurai genre (see Kevin P. Eubanks, “Becoming-Samurai: Samurai [Films], Kung-Fu [Flicks] and Hip-Hop [Soundtracks]”), of American hip hop graffiti (see Kara-Jane Lombard, “‘To Us Writers, the Differences Are Obvious’: The Adaptation of Hip Hop Graffiti to an Australian Context”) or of Jane Austen’s fiction (see Suchitra Mathur, “From British ‘Pride’ to Indian ‘Bride’: Mapping the Contours of a Globalised (Post?)Colonialism”). What happens to the literary text that is being adapted, often multiple times? Rather than being displaced by the adaptation (as is often feared), it most frequently gets a new life: new editions of the book appear, with stills from the movie adaptation on its cover. But if I buy and read the book after seeing the movie, I read it differently than I would have before I had seen the film: in effect, the book, not the adaptation, has become the second and even secondary text for me. And as I read, I can only “see” characters as imagined by the director of the film; the cinematic version has taken over, has even colonised, my reader’s imagination. The literary “source” text, in my readerly, experiential terms, becomes the secondary work. It exists on an experiential continuum, in other words, with its adaptations. It may have been created before, but I only came to know it after. What if I have read the literary work first, and then see the movie? In my imagination, I have already cast the characters: I know what Gabriel and Gretta Conroy of James Joyce’s story, “The Dead,” look and sound like—in my imagination, at least. Then along comes John Huston’s lush period piece cinematic adaptation and the director superimposes his vision upon mine; his forcibly replaces mine. But, in this particular case, Huston still arguably needs my imagination, or at least my memory—though he may not have realised it fully in making the film. When, in a central scene in the narrative, Gabriel watches his wife listening, moved, to the singing of the Irish song, “The Lass of Aughrim,” what we see on screen is a concerned, intrigued, but in the end rather blank face: Gabriel doesn’t alter his expression as he listens and watches. His expression may not change—but I know exactly what he is thinking. Huston does not tell us; indeed, without the use of voice-over, he cannot. And since the song itself is important, voice-over is impossible. But I know exactly what he is thinking: I’ve read the book. I fill in the blank, so to speak. Gabriel looks at Gretta and thinks: There was grace and mystery in her attitude as if she were a symbol of something. He asked himself what is a woman standing on the stairs in the shadow, listening to distant music, a symbol of. If he were a painter he would paint her in that attitude. … Distant Music he would call the picture if he were a painter. (210) A few pages later the narrator will tell us: At last she turned towards them and Gabriel saw that there was colour on her cheeks and that her eyes were shining. A sudden tide of joy went leaping out of his heart. (212) This joy, of course, puts him in a very different—disastrously different—state of mind than his wife, who (we later learn) is remembering a young man who sang that song to her when she was a girl—and who died, for love of her. I know this—because I’ve read the book. Watching the movie, I interpret Gabriel’s blank expression in this knowledge. Just as the director’s vision can colonise my visual and aural imagination, so too can I, as reader, supplement the film’s silence with the literary text’s inner knowledge. The question, of course, is: should I have to do so? Because I have read the book, I will. But what if I haven’t read the book? Will I substitute my own ideas, from what I’ve seen in the rest of the film, or from what I’ve experienced in my own life? Filmmakers always have to deal with this problem, of course, since the camera is resolutely externalising, and actors must reveal their inner worlds through bodily gesture or facial expression for the camera to record and for the spectator to witness and comprehend. But film is not only a visual medium: it uses music and sound, and it also uses words—spoken words within the dramatic situation, words overheard on the street, on television, but also voice-over words, spoken by a narrating figure. Stephen Dedalus escapes from Ireland at the end of Joseph Strick’s 1978 adaptation of Joyce’s A Portrait of the Artist as a Young Man with the same words as he does in the novel, where they appear as Stephen’s diary entry: Amen. So be it. Welcome, O life! I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race. … Old father, old artificer, stand me now and ever in good stead. (253) The words from the novel also belong to the film as film, with its very different story, less about an artist than about a young Irishman finally able to escape his family, his religion and his country. What’s deliberately NOT in the movie is the irony of Joyce’s final, benign-looking textual signal to his reader: Dublin, 1904 Trieste, 1914 The first date is the time of Stephen’s leaving Dublin—and the time of his return, as we know from the novel Ulysses, the sequel, if you like, to this novel. The escape was short-lived! Portrait of the Artist as a Young Man has an ironic structure that has primed its readers to expect not escape and triumph but something else. Each chapter of the novel has ended on this kind of personal triumphant high; the next has ironically opened with Stephen mired in the mundane and in failure. Stephen’s final words in both film and novel remind us that he really is an Icarus figure, following his “Old father, old artificer”, his namesake, Daedalus. And Icarus, we recall, takes a tumble. In the novel version, we are reminded that this is the portrait of the artist “as a young man”—later, in 1914, from the distance of Trieste (to which he has escaped) Joyce, writing this story, could take some ironic distance from his earlier persona. There is no such distance in the film version. However, it stands alone, on its own; Joyce’s irony is not appropriate in Strick’s vision. His is a different work, with its own message and its own, considerably more romantic and less ironic power. Literary adaptations are their own things—inspired by, based on an adapted text but something different, something other. I want to argue that these works adapted from literature are now part of our readerly experience of that literature, and for that reason deserve the same attention we give to the literary, and not only the same attention, but also the same respect. I am a literarily trained person. People like me who love words, already love plays, but shouldn’t we also love films—and operas, and musicals, and even videogames? There is no need to denigrate words that are heard (and visualised) in order to privilege words that are read. Works of literature can have afterlives in their adaptations and translations, just as they have pre-lives, in terms of influences and models, as George Eliot Clarke openly allows in those acknowledgements to Beatrice Chancy. I want to return to that Canadian work, because it raises for me many of the issues about adaptation and language that I see at the core of our literary distrust of the move away from the written, printed text. I ended my recent book on adaptation with a brief examination of this work, but I didn’t deal with this particular issue of language. So I want to return to it, as to unfinished business. Clarke is, by the way, clear in the verse drama as well as in articles and interviews that among the many intertexts to Beatrice Chancy, the most important are slave narratives, especially one called Celia, a Slave, and Shelley’s play, The Cenci. Both are stories of mistreated and subordinated women who fight back. Since Clarke himself has written at length about the slave narratives, I’m going to concentrate here on Shelley’s The Cenci. The distance from Shelley’s verse play to Clarke’s verse play is a temporal one, but it is also geographic and ideological one: from the old to the new world, and from a European to what Clarke calls an “Africadian” (African Canadian/African Acadian) perspective. Yet both poets were writing political protest plays against unjust authority and despotic power. And they have both become plays that are more read than performed—a sad fate, according to Clarke, for two works that are so concerned with voice. We know that Shelley sought to calibrate the stylistic registers of his work with various dramatic characters and effects to create a modern “mixed” style that was both a return to the ancients and offered a new drama of great range and flexibility where the expression fits what is being expressed (see Bruhn). His polemic against eighteenth-century European dramatic conventions has been seen as leading the way for realist drama later in the nineteenth century, with what has been called its “mixed style mimesis” (Bruhn) Clarke’s adaptation does not aim for Shelley’s perfect linguistic decorum. It mixes the elevated and the biblical with the idiomatic and the sensual—even the vulgar—the lushly poetic with the coarsely powerful. But perhaps Shelley’s idea of appropriate language fits, after all: Beatrice Chancy is a woman of mixed blood—the child of a slave woman and her slave owner; she has been educated by her white father in a convent school. Sometimes that educated, elevated discourse is heard; at other times, she uses the variety of discourses operative within slave society—from religious to colloquial. But all the time, words count—as in all printed and oral literature. Clarke’s verse drama was given a staged reading in Toronto in 1997, but the story’s, if not the book’s, real second life came when it was used as the basis for an opera libretto. Actually the libretto commission came first (from Queen of Puddings Theatre in Toronto), and Clarke started writing what was to be his first of many opera texts. Constantly frustrated by the art form’s demands for concision, he found himself writing two texts at once—a short libretto and a longer, five-act tragic verse play to be published separately. Since it takes considerably longer to sing than to speak (or read) a line of text, the composer James Rolfe keep asking for cuts—in the name of economy (too many singers), because of clarity of action for audience comprehension, or because of sheer length. Opera audiences have to sit in a theatre for a fixed length of time, unlike readers who can put a book down and return to it later. However, what was never sacrificed to length or to the demands of the music was the language. In fact, the double impact of the powerful mixed language and the equally potent music, increases the impact of the literary text when performed in its operatic adaptation. Here is the verse play version of the scene after Beatrice’s rape by her own father, Francis Chancey: I was black but comely. Don’t glance Upon me. This flesh is crumbling Like proved lies. I’m perfumed, ruddied Carrion. Assassinated. Screams of mucking juncos scrawled Over the chapel and my nerves, A stickiness, as when he finished Maculating my thighs and dress. My eyes seep pus; I can’t walk: the floors Are tizzy, dented by stout mauling. Suddenly I would like poison. The flesh limps from my spine. My inlets crimp. Vultures flutter, ghastly, without meaning. I can see lice swarming the air. … His scythe went shick shick shick and slashed My flowers; they lay, murdered, in heaps. (90) The biblical and the violent meet in the texture of the language. And none of that power gets lost in the opera adaptation, despite cuts and alterations for easier aural comprehension. I was black but comely. Don’t look Upon me: this flesh is dying. I’m perfumed, bleeding carrion, My eyes weep pus, my womb’s sopping With tears; I can hardly walk: the floors Are tizzy, the sick walls tumbling, Crumbling like proved lies. His scythe went shick shick shick and cut My flowers; they lay in heaps, murdered. (95) Clarke has said that he feels the libretto is less “literary” in his words than the verse play, for it removes the lines of French, Latin, Spanish and Italian that pepper the play as part of the author’s critique of the highly educated planter class in Nova Scotia: their education did not guarantee ethical behaviour (“Adaptation” 14). I have not concentrated on the music of the opera, because I wanted to keep the focus on the language. But I should say that the Rolfe’s score is as historically grounded as Clarke’s libretto: it is rooted in African Canadian music (from ring shouts to spirituals to blues) and in Scottish fiddle music and local reels of the time, not to mention bel canto Italian opera. However, the music consciously links black and white traditions in a way that Clarke’s words and story refuse: they remain stubbornly separate, set in deliberate tension with the music’s resolution. Beatrice will murder her father, and, at the very moment that Nova Scotia slaves are liberated, she and her co-conspirators will be hanged for that murder. Unlike the printed verse drama, the shorter opera libretto functions like a screenplay, if you will. It is not so much an autonomous work unto itself, but it points toward a potential enactment or embodiment in performance. Yet, even there, Clarke cannot resist the lure of words—even though they are words that no audience will ever hear. The stage directions for Act 3, scene 2 of the opera read: “The garden. Slaves, sunflowers, stars, sparks” (98). The printed verse play is full of these poetic associative stage directions, suggesting that despite his protestations to the contrary, Clarke may have thought of that version as one meant to be read by the eye. After Beatrice’s rape, the stage directions read: “A violin mopes. Invisible shovelsful of dirt thud upon the scene—as if those present were being buried alive—like ourselves” (91). Our imaginations—and emotions—go to work, assisted by the poet’s associations. There are many such textual helpers—epigraphs, photographs, notes—that we do not have when we watch and listen to the opera. We do have the music, the staged drama, the colours and sounds as well as the words of the text. As Clarke puts the difference: “as a chamber opera, Beatrice Chancy has ascended to television broadcast. But as a closet drama, it play only within the reader’s head” (“Adaptation” 14). Clarke’s work of literature, his verse drama, is a “situated utterance, produced in one medium and in one historical and social context,” to use Robert Stam’s terms. In the opera version, it was transformed into another “equally situated utterance, produced in a different context and relayed through a different medium” (45-6). I want to argue that both are worthy of study and respect by wordsmiths, by people like me. I realise I’ve loaded the dice: here neither the verse play nor the libretto is primary; neither is really the “source” text, for they were written at the same time and by the same person. But for readers and audiences (my focus and interest here), they exist on a continuum—depending on which we happen to experience first. As Ilana Shiloh explores here, the same is true about the short story and film of Memento. I am not alone in wanting to mount a defence of adaptations. Julie Sanders ends her new book called Adaptation and Appropriation with these words: “Adaptation and appropriation … are, endlessly and wonderfully, about seeing things come back to us in as many forms as possible” (160). The storytelling imagination is an adaptive mechanism—whether manifesting itself in print or on stage or on screen. The study of the production of literature should, I would like to argue, include those other forms taken by that storytelling drive. If I can be forgiven a move to the amusing—but still serious—in concluding, Terry Pratchett puts it beautifully in his fantasy story, Witches Abroad: “Stories, great flapping ribbons of shaped space-time, have been blowing and uncoiling around the universe since the beginning of time. And they have evolved. The weakest have died and the strongest have survived and they have grown fat on the retelling.” In biology as in culture, adaptations reign. References Bloom, Harold. The Anxiety of Influence. New York: Oxford University Press, 1975. Bruhn, Mark J. “’Prodigious Mixtures and Confusions Strange’: The Self-Subverting Mixed Style of The Cenci.” Poetics Today 22.4 (2001). Clarke, George Elliott. “Beatrice Chancy: A Libretto in Four Acts.” Canadian Theatre Review 96 (1998): 62-79. ———. Beatrice Chancy. Victoria, BC: Polestar, 1999. ———. “Adaptation: Love or Cannibalism? Some Personal Observations”, unpublished manuscript of article. Frye, Northrop. The Educated Imagination. Toronto: CBC, 1963. Goodman, Nelson. Languages of Art: An Approach to a Theory of Symbols. Indianapolis: Bobbs-Merrill, 1968. Hutcheon, Linda, and Gary R. Bortolotti. “On the Origin of Adaptations: Rethinking Fidelity Discourse and “Success”—Biologically.” New Literary History. Forthcoming. Joyce, James. Dubliners. 1916. New York: Viking, 1967. ———. A Portrait of the Artist as a Young Man. 1916. Penguin: Harmondsworth, 1960. Larson, Katherine. “Resistance from the Margins in George Elliott Clarke’s Beatrice Chancy.” Canadian Literature 189 (2006): 103-118. McGee, Celia. “Beowulf on Demand.” New York Times, Arts and Leisure. 30 April 2006. A4. Rushdie, Salman. The Satanic Verses. New York: Viking, 1988. ———. Haroun and the Sea of Stories. London: Granta/Penguin, 1990. Sanders, Julie. Adaptation and Appropriation. London and New York: Routledge, 160. Shelley, Percy Bysshe. The Cenci. Ed. George Edward Woodberry. Boston and London: Heath, 1909. Stam, Robert. “Introduction: The Theory and Practice of Adaptation.” Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Oxford: Blackwell, 2005. 1-52. Citation reference for this article MLA Style Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/01-hutcheon.php>. APA Style Hutcheon, L. (May 2007) "In Defence of Literary Adaptation as Cultural Production," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/01-hutcheon.php>.

Dear Reader, Welcome to this special issue of the Irish Journal of Technology Enhanced Learning the journal of the Irish Learning Technology Association. This issue comprises a selection of papers based on submissions to the Next Generation: Digital Learning Research Symposium in November 2016. This symposium was held in partnership between theIrish Learning Technology Association, the Educational Studies Association of Ireland, and both theInstitute of Education andNational Institute for Digital Learning at Dublin City University. The Symposium was framed around the notion of building capacity in research in digital learning. The Symposium’s title not only alluded to generations of teaching and learning but also to learning futures and how we might ford the chasm of the great promise of the digital with evidence of its actual effects. The symposium sought to foster discussion, debate and above all a community of scholars by discussing and debating the big issues we face in digital learning research. The event gave voice to a wide range of Irish educators and researchers across all levels and sectors. The articles in this issue represent a selection of the highlights of presentations at the symposium in extended written form. Professor Gráinne Conole’s keynote served in many ways to set the scene for a broad gathering of educators and researchers from across all levels and sectors. Her article in this issue - Research through the Generations: Reflecting on the Past, Present and Future - traces a broad arc of research in educational technology framed around key technologies and methodological developments. She identifies five transformative technologies: the web/WI-FI; Learning Management Systems (LMSs); mobile devices, Open Educational Resources (OER) and Massive Open Online Courses (MOOCs); and social media. Her piece considers the characteristics that made these developments transformative, along with the challenges to their usage. This examination is followed by an overview of the field of digital learning research and divides digital learning research into three main types: research around the pedagogies of digital learning, research on underpinning technologies, and research at an organizational level. Using this framework the reader is afforded an insight into how digital learning has emerged as a new interdisciplinary field. It is always at the tectonic plates of previously separate disciplines that new terrain emerges and Professor Conole’s piece will provide an invaluable contextual overview to readers both new to the field of digital learning research but also to those more experienced researchers who may be too close to see it. As such it is a richly rewarding read for Ed Tech visitors and residents alike. A second position paper in the issue by Tony Murphy also invokes Educational Technology futures. It examines a key area, and one the three broad themes identified by Conole, that of organizational forms in digital learning. Behind the provocative title of The future of Technology Enhanced Learning (TEL) is in the hands of the anonymous, grey nondescript mid-level professional manager is an informative and insightful research-informed commentary on how technology confronts existing practices and boundaries in higher education. Key insights that this paper affords arises from how it draws on well developed concepts from literature of organizational forms outside of education and uses them to interrogate the emerging practices of work and professional roles for 21st century educators. The theme of contemporary professional practice is central to Exploring higher education professionals’ use of Twitter for learning by Muireann O’Keeffe. Using a Visitor and Resident typology this paper reports on research into how higher education professionals were involved in a range of types of participation (and nonparticipation) on Twitter. It shows how participants both use and sometimes fail to use social networking for professional learning and attempts to unpick the complexities of participation in online spaces. This paper makes an important contribution to the topical area of how we participate (or resist participation) in online spaces as a professional community. Professional practice is also to the fore in a fascinating research piece by Michael Hallissy that looks at practices in Synchronous Computer Mediated Conferencing (SCMC) which is, relative to asynchronous environments, an under researched area. Sharing Professional Practice – Tutors have their say reports on research into teaching in synchronous environments. Using Pedagogical and Content Framework (TPACK) in parallel with the Flanders Interaction Analysis Category the practices of teachers are explored with the aim of challenging and changing them. The findings of this research enjoin us as educators to share our practice critically and reflectively. Its core message is perhaps encapsulated in that both teaching and teaching development are a form of dialogue. Appropriately then, this article is written in a style that immediately engages the reader, draws them into a story and is a richly rewarding read. A number of current trends are captured in Barry James Ryan’s research article Near Peers: Harnessing the power of the populous to enhance the learning environment. This research investigated the impact of a tool called NearPod used in third level educational settings. Using a case study methodology it shows a practical implementation of some key trends in higher education and reports on its aims to enhance the student learning experience through the integration of BYOD (Bring Your Own Device) and flipped classroom learning. Methodologically this study is interesting for its use of student and teacher reflective forms of data and provides a valuable vignette of contemporary research informed teaching. To conclude it is hoped that the diverse array of articles in this issue offers something for every interested reader. Indeed this is reflective of the diversity of the Irish community that is engaged in practices informed, mediated or enabled by some kind of digital learning technology. Conole’s article sets this out from a research perspective and the picture has been painted elsewhere of what “Ed Tech” as an emergent discipline might look like. To this end it is hoped that this issue goes some way towards helping us build our community through the critical lens of research. On behalf of the Irish Learning Technology Association and the journal editorial team we wish you happy reading (and hope to see your work in a future issue). Best wishes, Eamon, Tom and Fiona [1] Irish Journal of Technology Enhanced Learning Ireland, 2017. © 2017 E. Costello. The Irish Journal of TechnologyEnhanced Learning Ireland is the journal of the Irish Learning Technology Association, an Irish-based professional and scholarly society and membership organisation. (CRO# 520231) http://www.ilta.ie/. This is an Open Access article distributed under the terms of the Creative Commons Attribution 4.0 International License(http://creativecommons.org/licenses/by/4.0/), allowing third parties to copy and redistribute the material in any medium or format and to remix, transform, and build upon the material for any purpose, even commercially, provided the original work is properly cited and states its license.

IntroductionThe debate about the responsibility of museums to respect Indigenous peoples’ rights (Kelly and Gordon; Butts) has caught our attention on the basis of our previous research experience with regard to the protection of the tangible and intangible heritage of the San (former hunter gatherers) in Southern Africa (Martin and Vermeylen; Vermeylen, Contextualising; Vermeylen, Life Force; Vermeylen et al.; Vermeylen, Land Rights). This paper contributes to the critical debate about curatorial practices and the recovery of Indigenous peoples’ cultural practices and explores how museums can be transformed into cultural centres that “decolonise” their objects while simultaneously providing social agency to marginalised groups such as the San. Indigenous MuseumTraditional methods of displaying Indigenous heritage are now regarded with deep suspicion and resentment by Indigenous peoples (Simpson). A number of related issues such as the appropriation, ownership and repatriation of culture together with the treatment of sensitive and sacred materials and the stereotyping of Indigenous peoples’ identity (Carter; Simpson) have been identified as the main problems in the debate about museum curatorship and Indigenous heritage. The poignant question remains whether the concept of a classical museum—in the sense of how it continues to classify, value and display non-Western artworks—will ever be able to provide agency to Indigenous peoples as long as “their lives are reduced to an abstract set of largely arbitrary material items displayed without much sense of meaning” (Stanley 3). Indeed, as Salvador has argued, no matter how much Indigenous peoples have been involved in the planning and implementation of an exhibition, some issues remain problematic. First, there is the problem of representation: who speaks for the group; who should make decisions and under what circumstances; when is it acceptable for “outsiders” to be involved? Furthermore, Salvador raises another area of contestation and that is the issue of intention. As we agree with Salvador, no matter how good the intention to include Indigenous peoples in the curatorial practices, the fact that Indigenous peoples may have a (political) perspective about the exhibition that differs from the ideological foundation of the museum enterprise, is, indeed, a challenge that must not be overlooked in the discussion of the inclusive museum. This relates to, arguably, one of the most important challenges in respect to the concept of an Indigenous museum: how to present the past and present without creating an essentialising “Other”? As Stanley summarises, the modernising agenda of the museum, including those museums that claim to be Indigenous museums, continues to be heavily embedded in the belief that traditional cultural beliefs, practices and material manifestations must be saved. In other words, exhibitions focusing on Indigenous peoples fail to show them as dynamic, living cultures (Simpson). This raises the issue that museums recreate the past (Sepúlveda dos Santos) while Indigenous peoples’ interests can be best described “in terms of contemporaneity” (Bolton qtd. in Stanley 7). According to Bolton, Indigenous peoples’ interest in museums can be best understood in terms of using these (historical) collections and institutions to address contemporary issues. Or, as Sepúlveda dos Santos argues, in order for museums to be a true place of memory—or indeed a true place of recovery—it is important that the museum makes the link between the past and contemporary issues or to use its objects in such a way that these objects emphasize “the persistence of lived experiences transmitted through generations” (29). Under pressure from Indigenous rights movements, the major aim of some museums is now reconciliation with Indigenous peoples which, ultimately, should result in the return of the cultural objects to the originators of these objects (Kelly and Gordon). Using the Native American Graves Protection and Repatriation Act of 1990 (NAGPRA) as an illustration, we argue that the whole debate of returning or recovering Indigenous peoples’ cultural objects to the original source is still embedded in a discourse that emphasises the mummified aspect of these materials. As Harding argues, NAGPRA is provoking an image of “native Americans as mere passive recipients of their cultural identity, beholden to their ancestors and the museum community for the re-creation of their cultures” (137) when it defines cultural patrimony as objects having ongoing historical, traditional or cultural importance, central to the Native American group or culture itself. According to Harding (2005) NAGPRA’s dominating narrative focuses on the loss, alienation and cultural genocide of the objects as long as these are not returned to their originators. The recovery or the return of the objects to their “original” culture has been applauded as one of the most liberating and emancipatory events in recent years for Indigenous peoples. However, as we have argued elsewhere, the process of recovery needs to do more than just smother the object in its past; recovery can only happen when heritage or tradition is connected to the experience of everyday life. One way of achieving this is to move away from the objectification of Indigenous peoples’ cultures. ObjectificationIn our exploratory enquiry about new museum practices our attention was drawn to a recent debate about ownership and personhood within the context of museology (Busse; Baker; Herle; Bell; Geismar). Busse, in particular, makes the point that in order to reformulate curatorial practices it is important to redefine the concept and meaning of objects. While the above authors do not question the importance of the objects, they all argue that the real importance does not lie in the objects themselves but in the way these objects embody the physical manifestation of social relations. The whole idea that objects matter because they have agency and efficacy, and as such become a kind of person, draws upon recent anthropological theorising by Gell and Strathern. Furthermore, we have not only been inspired by Gell’s and Strathern’s approaches that suggests that objects are social persons, we have also been influenced by Appadurai’s and Kopytoff’s defining of objects as biographical agents and therefore valued because of the associations they have acquired throughout time. We argue that by framing objects in a social network throughout its lifecycle we can avoid the recurrent pitfalls of essentialising objects in terms of their “primitive” or “traditional” (aesthetic) qualities and mystifying the identity of Indigenous peoples as “noble savages.” Focusing more on the social network that surrounds a particular object opens up new avenues of enquiry as to how, and to what extent, museums can become more inclusive vis-à-vis Indigenous peoples. It allows moving beyond the current discourse that approaches the history of the (ethnographic) museum from only one dominant perspective. By tracing an artwork throughout its lifecycle a new metaphor can be discovered; one that shows that Indigenous peoples have not always been victims, but maybe more importantly it allows us to show a more complex narrative of the object itself. It gives us the space to counterweight some of the discourses that have steeped Indigenous artworks in a “postcolonial” framework of sacredness and mythical meaning. This is not to argue that it is not important to be reminded of the dangers of appropriating other cultures’ heritage, but we would argue that it is equally important to show that approaching a story from a one-sided perspective will create a dualism (Bush) and reducing the differences between different cultures to a dualistic opposition fails to recognise the fundamental areas of agency (Morphy). In order for museums to enliven and engage with objects, they must become institutions that emphasise a relational approach towards displaying and curating objects. In the next part of this paper we will explore to what extent an online museum could progressively facilitate the process of providing agency to the social relations that link objects, persons, environments and memories. As Solanilla argues, what has been described as cybermuseology may further transform the museum landscape and provide an opportunity to challenge some of the problems identified above (e.g. essentialising practices). Or to quote the museologist Langlais: “The communication and interaction possibilities offered by the Web to layer information and to allow exploration of multiple meanings are only starting to be exploited. In this context, cybermuseology is known as a practice that is knowledge-driven rather than object-driven, and its main goal is to disseminate knowledge using the interaction possibilities of Information Communication Technologies” (Langlais qtd. in Solanilla 108). One thing which shows promise and merits further exploration is the idea of transforming the act of exhibiting ethnographic objects accompanied by texts and graphics into an act of cyber discourse that allows Indigenous peoples through their own voices and gestures to involve us in their own history. This is particularly the case since Indigenous peoples are using technologies, such as the Internet, as a new medium through which they can recuperate their histories, land rights, knowledge and cultural heritage (Zimmerman et al.). As such, new technology has played a significant role in the contestation and formation of Indigenous peoples’ current identity by creating new social and political spaces through visual and narrative cultural praxis (Ginsburg).Online MuseumsIt has been acknowledged for some time that a presence on the Web might mitigate the effects of what has been described as the “unassailable voice” in the recovery process undertaken by museums (Walsh 77). However, a museum’s online engagement with an Indigenous culture may have significance beyond undercutting the univocal authority of a museum. In the case of the South African National Gallery it was charged with challenging the extent to which it represents entrenched but unacceptable political ideologies. Online museums may provide opportunities in the conservation and dissemination of “life stories” that give an account of an Indigenous culture as it is experienced (Solanilla 105). We argue that in engaging with Indigenous cultural heritage a distinction needs to be drawn between data and the cognitive capacity to learn, “which enables us to extrapolate and learn new knowledge” (Langlois 74). The problem is that access to data about an Indigenous culture does not necessarily lead to an understanding of its knowledge. It has been argued that cybermuseology loses the essential interpersonal element that needs to be present if intangible heritage is understood as “the process of making sense that is generally transmitted orally and through face-to-face experience” (Langlois 78). We agree that the online museum does not enable a reality to be reproduced (Langlois 78).This does not mean that cybermuseology should be dismissed. Instead it provides the opportunity to construct a valuable, but completely new, experience of cultural knowledge (Langlois 78). The technology employed in cybermuseology provides the means by which control over meaning may, at least to some extent, be dispersed (Langlois 78). In this way online museums provide the opportunity for Indigenous peoples to challenge being subjected to manipulation by one authoritative museological voice. One of the ways this may be achieved is through interactivity by enabling the use of social tagging and folksonomy (Solanilla 110; Trant 2). In these processes keywords (tags) are supplied and shared by visitors as a means of accessing museum content. These tags in turn give rise to a classification system (folksonomy). In the context of an online museum engaging with an Indigenous culture we have reservations about the undifferentiated interactivity on the part of all visitors. This issue may be investigated further by examining how interactivity relates to communication. Arguably, an online museum is engaged in communicating Indigenous cultural heritage because it helps to keep it alive and pass it on to others (Langlois 77). However, enabling all visitors to structure online access to that culture may be detrimental to the communication of knowledge that might otherwise occur. The narratives by which Indigenous cultures, rather than visitors, order access to information about their cultures may lead to the communication of important knowledge. An illustration of the potential of this approach is the work Sharon Daniel has been involved with, which enables communities to “produce knowledge and interpret their own experience using media and information technologies” (Daniel, Palabras) partly by means of generating folksonomies. One way in which such issues may be engaged with in the context of online museums is through the argument that database and narrative in such new media objects are opposed to each other (Manovich, New Media 225). A new media work such as an online museum may be understood to be comprised of a database and an interface to that database. A visitor to an online museum may only move through the content of the database by following those paths that have been enabled by those who created the museum (Manovich, New Media 227). In short it is by means of the interface provided to the viewer that the content of the database is structured into a narrative (Manovich, New Media: 226). It is possible to understand online museums as constructions in which narrative and database aspects are emphasized to varying degrees for users. There are a variety of museum projects in which the importance of the interface in creating a narrative interface has been acknowledged. Goldblum et al. describe three examples of websites in which interfaces may be understood as, and explicitly designed for, carrying meaning as well as enabling interactivity: Life after the Holocaust; Ripples of Genocide; and Yearbook 2006.As with these examples, we suggest that it is important there be an explicit engagement with the significance of interface(s) for online museums about Indigenous peoples. The means by which visitors access content is important not only for the way in which visitors interact with material, but also as to what is communicated about, culture. It has been suggested that the curator’s role should be moved away from expertly representing knowledge toward that of assisting people outside the museum to make “authored statements” within it (Bennett 11). In this regard it seems to us that involvement of Indigenous peoples with the construction of the interface(s) to online museums is of considerable significance. Pieterse suggests that ethnographic museums should be guided by a process of self-representation by the “others” portrayed (Pieterse 133). Moreover it should not be forgotten that, because of the separation of content and interface, it is possible to have access to a database of material through more than one interface (Manovich, New Media 226-7). Online museums provide a means by which the artificial homogenization of Indigenous peoples may be challenged.We regard an important potential benefit of an online museum as the replacement of accessing material through the “unassailable voice” with the multiplicity of Indigenous voices. A number of ways to do this are suggested by a variety of new media artworks, including those that employ a database to rearrange information to reveal underlying cultural positions (Paul 100). Paul discusses the work of, amongst others, George Legrady. She describes how it engages with the archive and database as sites that record culture (104-6). Paul specifically discusses Legrady’s work Slippery Traces. This involved viewers navigating through more than 240 postcards. Viewers of work were invited to “first chose one of three quotes appearing on the screen, each of which embodies a different perspective—anthropological, colonialist, or media theory—and thus provides an interpretive angle for the experience of the projects” (104-5). In the same way visitors to an online museum could be provided with a choice of possible Indigenous voices by which its collection might be experienced. We are specifically interested in the implications that such approaches have for the way in which online museums could engage with film. Inspired by Basu’s work on reframing ethnographic film, we see the online museum as providing the possibility of a platform to experiment with new media art in order to expose the meta-narrative(s) about the politics of film making. As Basu argues, in order to provoke a feeling of involvement with the viewer, it is important that the viewer becomes aware “of the plurality of alternative readings/navigations that they might have made” (105). As Weinbren has observed, where a fixed narrative pathway has been constructed by a film, digital technology provides a particularly effective means to challenge it. It would be possible to reveal the way in which dominant political interests regarding Indigenous cultures have been asserted, such as for example in the popular film The Gods Must Be Crazy. New media art once again provides some interesting examples of the way ideology, that might otherwise remain unclear, may be exposed. Paul describes the example of Jennifer and Kevin McCoy’s project How I learned. The work restructures a television series Kung Fu by employing “categories such as ‘how I learned about blocking punches,’ ‘how I learned about exploiting workers,’ or ‘how I learned to love the land’” (Paul 103) to reveal in greater clarity, than otherwise might be possible, the cultural stereotypes used in the visual narratives of the program (Paul 102-4). We suggest that such examples suggest the ways in which online museums could work to reveal and explore the existence not only of meta-narratives expressed by museums as a whole, but also the means by which they are realised within existing items held in museum collections.ConclusionWe argue that the agency for such reflective moments between the San, who have been repeatedly misrepresented or underrepresented in exhibitions and films, and multiple audiences, may be enabled through the generation of multiple narratives within online museums. We would like to make the point that, first and foremost, the theory of representation must be fully understood and acknowledged in order to determine whether, and how, modes of online curating are censorious. As such we see online museums having the potential to play a significant role in illuminating for both the San and multiple audiences the way that any form of representation or displaying restricts the meanings that may be recovered about Indigenous peoples. ReferencesAppadurai, Arjun. The Social Life of Things: Commodities in Cultural Perspective. Cambridge: Harvard UP, 1986. Bal, Mieke. “Exhibition as Film.” Exhibition Experiments. Ed. Sharon Macdonald and Paul Basu. Malden: Blackwell Publishing 2007. 71-93. Basu, Paul. “Reframing Ethnographic Film.” Rethinking Documentary. Eds. Thomas Austin and Wilma de Jong. Maidenhead: Open U P, 2008. 94-106.Barringer, Tim, and Tom Flynn. Colonialism and the Object: Empire, Material Culture and the Museum. London: Routledge, 1998. Baxandall, Michael. "Exhibiting Intention: Some Preconditions of the Visual Display of Culturally Purposeful Objects." Exhibiting Cultures. Ed. Ivan Karp and Steven Lavine. Washington: Smithsonian Institution P. 1991. 33-41.Bell, Joshua. “Promiscuous Things: Perspectives on Cultural Property through Photographs in the Purari Delta of Papa New Guinea.” International Journal of Cultural Property 15 (2008): 123-39.Bennett, Tony. “The Political Rationality of the Museum.” Continuum: The Australian Journal of Media & Culture 3 No.1 (1990). 8 Oct. 2008 ‹http://wwwmcc.murdoch.edu.au/ReadingRoom/3.1/Bennett.html›. Bolton, Lissant. “The Object in View: Aborigines, Melanesians and Museums.” Emplaced Myth: Space, Narrative and Knowledge in Australia and Papua New Guinea. Eds. Alan Rumsey & James Weiner. Honolulu: U of Hawai`i P. 2001. 215-32. 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It is now almost 15 years since the world witnessed one of modern history’s most devastating terrorist attacks on the United States on 11 September 2001. Despite all its promises, the so called ‘War on Terror’ failed to combat a growing tide of violent extremism. 11 years after the US led offensive on Iraq in 2003, the rise of terrorism by non-state actors in the Arab world presents a significant concern to international security and world peace. Since 2001 Australian Muslims have consistently been called upon to openly reject terrorism committed by a minority of Muslims who adhere to an extreme interpretation of Islamic doctrine that justifies attacks on civilians both in the Arab world and abroad.The responsibility placed on Australian Muslims to actively reject terrorism comes from both official channels through government funded programs under the banner of counter terrorism and countering violent extremism and the public through the popular media. Yet, Muslims in Australia who do speak out against religiously motivated non-state terrorism find themselves in an impossible bind. They are expected to speak out as representatives of a fragmented, heterogeneous and diverse mix of communities and ideologies. Often, when they do speak out, they are viewed with suspicion and presumed to be ‘apologists for Islam’ whose claim to tolerance and the peaceful nature of Islamic doctrine purposefully ignores its true nature. Such responses render these spokespersons illegitimate- both as representatives of Muslim communities and as Australian citizens. The question “Why don’t moderate Muslims speak out against terrorism?” is often raised in the popular media in response to attacks against Western interests by jihadi groups. On 15 August 2014 an article in the Daily Telegraph by well-known conservative journalist Piers Akerman raised the question in relation to the Australian government’s announcement of increased powers for law enforcement agencies to deal with the issue of returned foreign fighters who had joined the Islamic State’s conflict in Iraq and Syria. The article, titled “It’s Time for Muslim Leaders to Speak Up” reiterated much of the construction of the silent Muslim majority that has pervaded the Australian popular media since 2001. Akerman states: “They [the Australian government] should be making it clear to Australian Muslims that they expect their leaders to speak out more vehemently against those who groom terrorists from the among the young and stupidly impressionable in their communities”. While he continues by acknowledging that Muslims in Australia are diverse in ethnicity and religious views and that the vast majority of Muslims do not support terrorism, he concludes by stating that “the few are costing the majority of Australians millions in security and those who enjoy leadership titles must accept that some responsibility attaches to their position or they should abdicate in favour of individuals who are prepared to consent to the obligations inherent in their station” (Piers Akerman). The same sentiments were expressed by Pia Ackerman in the Australian who wrote that “AUSTRALIA’S Muslim leaders need to speak out against Islamic State terrorists or risk losing their credibility and ability to reach young men attracted to the extremists’ cause” (Pia Akerman).Other responses in the popular media present a different argument. In an article titled “The Moderate Muslims Are Talking If Only You Will Listen”, David Penberthy of the Herald Sun cites examples of Muslim Australians who are speaking out including the case of prominent Sydney GP Jamal Rifi whose condemnation of terrorist activities in the Arab world has earned him death threats from members of the Islamic State (Penberthy). Yet, as Penberthy rightly acknowledges the questions “where are the moderates? Where are the decent Muslims? Are there any? Why aren’t they speaking out?” are still the most salient questions being asked of Muslims in the public sphere. For Australian Muslims at least, they are questions that pervade their everyday lives. It is these questions for example that leads Muslim women who wear the tradition head covering or hijab to challenge media representations of themselves as complicit actors in terrorism by acting as alternative sources of truth for curious co-workers and members of the broader community (see Aly, A Study).Muslim women who do not wear the hijab can face even more barriers to speaking out because they do not pass the test of ‘legitimate’ Muslims: those who fit the stereotype of the angry bearded male and the oppressed female shrouded in black. This author, who has in the past written about extremist interpretations of Islam, has faced condemnation from anti- Islamic groups who questioned her authenticity as a Muslim. By speaking out as a Muslim against the violent actions of some Muslims in other parts of the world, I was being accused of misinformed. Ironically, those who are vehemently anti- Islamic espouse the very same ideological world view and interpretations of Islamic doctrine as those Muslims they claim to oppose. Both groups rely on an extreme and minority version of Islam that de-legitimises more mainstream, nuanced interpretations and both groups claim legitimacy to the truth that Islam can only ever be violent, aggressive and oppositional.It is not just in the public and media discourses that Muslims who speak out against terrorism face being branded illegitimate. The policy response to home-grown terrorism — acts of violence carried out by Australian citizens within Australia — has, albeit inadvertently, created the conditions through which Muslims must verify their legitimate claims to being Australian by participating in the governments’ program of counter terrorism.In the wake of the 2005 London bombings, the Prime Minister met with selected representatives from Muslim communities to discuss the development of a Muslim Community Reference Group. The Group was charged with assisting the Australian Government by acting as an advisory group and by working with Muslim communities “promote harmony, mutual understanding and Australian values and to challenge violence, ignorance and rigid thinking”. This was iterated through a Statement of Principles that committed members of Muslim communities to pursue “moderate’ Islam (Prime Minister, “Meeting”). The very need for a Muslim summit and for the development of a Statement of Principles (later endorsed by the Council of Australian Governments, COAG), sends a lucid message to the Australian public that not only are Australian Muslims responsible for terrorism but that they also have the capacity to prevent or minimise the threat of an attack in Australia.In 2005, the policy response to terrorism took its first step towards linking the social harmony agenda to the securitisation of the state in the form of the National Action Plan to Build Social Cohesion, Harmony and Security. The stated purpose of the National Action Plan (NAP) notably conflated national security with social cohesion and harmony and clearly indicated an understanding that violent extremism could be addressed through programs designed to reinforce Australian values, social harmony, interfaith understanding and tolerance: “The purpose of this National Action Plan (NAP) is to reinforce social cohesion, harmony and support the national security imperative in Australia by addressing extremism, the promotion of violence and intolerance…”(Commonwealth of Australia, National Action Plan).Between 2005 and 2010, the National Action Plan provided funding for 83 community based projects deemed to meet the Plan’s criteria of addressing extremism and the promotion of violence. Of the 83 projects funded, 33 were undertaken by associations that identified as Muslim or Islamic (some applicants received funding for more than one project or in more than one round). The remaining 50 organisations funded included universities and vocational training organisations (4), multicultural social services or migrant resource centres (14), interfaith groups (3), local councils (4), ethnic organisations (specifically African, East African, Afghan, Hazara, Arabic and Pakistani), sporting clubs (4) and miscellaneous social clubs and service providers. The kinds of projects that were funded were predominantly aimed at Muslim communities, most notably youth and women, and the provision of services, programs, education, information and dialogue. Sixty five of the projects funded were explicitly aimed at Muslim communities and identified their target groups variously as: ‘African Muslim’; ‘Muslim youth’; ‘Muslim women’; ‘at risk Muslims’; ‘young Muslims’; ‘Iraqi Muslims’; ‘Lebanese Muslims’ and ‘young Muslim men from Arabic speaking backgrounds’. Seven projects were described as involving ‘interfaith’ elements, though a further 13 projects described some form of interaction between Muslim and non-Muslim communities and groups through activities such as sport, dialogue, fashion parades, workshops, art and craft programs, music workshops. 29 projects involved some form of leadership training for Muslims: youth, women and young men. Overall, the range of projects funded under the National Action Plan in the five years of its operation reflect a policy approach that specifically identifies Muslim communities (including ethno specific and new and emerging Muslim communities) as the primary target of Australia’s broader security strategy.The National Action Plan was succeeded by the Building Community Resilience (BCR) Program. Despite the positive steps taken in attempting to move the BCR program away from the social harmony policy agenda, it continued to reflect an underlying preoccupation with the assumptions of its predecessor. Between 2011- 2013 it funded 51 community based projects. Of these, 7 projects were undertaken by Islamic or Muslim associations. Ten of the projects specifically target Muslims or Muslim communities, with 6 of these being Muslim youth leadership and/or mentoring programs. The remaining 4 Muslim focussed projects include a project designed to encourage Muslim youth to build positive connections with the broader community, the development of a Common Curriculum Framework for teaching Islamic Studies in Australian Islamic primary and secondary schools, a project to address misconceptions about Islam and promote cultural understanding and the production of a DVD for schools to address misperceptions about Muslims. Notably, only one project specifically targets white supremacist violent extremism. The Australian governments’ progressive policy approach to countering violent extremism at home has disproportionately focussed on the Australian Muslim communities. In an environment where Muslims are viewed with suspicion and as having the primary responsibility as both perpetrators and gatekeepers of terroristic ideologies, Muslims in diaspora communities have been forced to make legitimate claims to their innocence. In order to do this they are required to reaffirm their commitment to Australian values, not just by speaking out against terrorism but also by participating in programs that are based on false assumptions about the nature of Muslim citizenship in Australia and the premise that Muslim Australians are, both individually and collectively, opposed to such values by virtue of their religious affiliation. In 2014 and in response to growing concerns about the number of Australians travelling to Iraq and Syria to fight alongside the Islamic State, the government made a bold move by declaring its intention to overhaul existing terror laws. The new laws would reverse the onus of proof on those who travelled to certain countries deemed to be terrorist hotspots to prove that they were not partaking in armed conflict or terrorist training. They would also give more powers to law enforcement and surveillance agencies by lowering the threshold of arrest without a warrant. The announcement of the new laws by the Prime Minister coincided with the news that the Government would abandon its controversial plans to drop section 18c from the Racial Discrimination Act which makes it unlawful to "offend, insult, humiliate or intimidate another person or a group of people" because of their race or ethnicity" (Aston). The announcement was made under the guise of a press conference on terror laws and inferred that the back down on the Racial Discrimination Act reforms were a measure to win over the Muslim communities cooperation on the new terror laws. Referring to a somewhat curious notion of “team Australia”, the Prime Minister stated “I want to work with the communities of our country as team Australia here” (Aston). “Team Australia” has since become the Government’s narrative frame for garnering public support for its proposed new terrorism laws. Echoing his predecessor John Howard, whose narrative of Australian values pervaded much of the political discourse during his term in office, Prime Minister Abbott stated in a radio interview that "everyone has got to put this country, its interests, its values and its people first, and you don't migrate to this country unless you want to join our team". He followed this statement by emphasising that "What we need to do is to encourage the moderate mainstream to speak out" (Cox).Shortly after the release of a horrific image on social media showing Australian jihadists proudly flaunting the severed heads of their victims, the Australian government reacted with an even bolder move to introduce legislation that would see the government cancelling the welfare payments of persons “identified by national security agencies as being involved in extremist conduct.” According to the Government the reforms would “enable the Department of Human Services to cancel a person’s welfare payment if it receives advice that a person has been assessed as a serious threat to Australia’s national security.”(Prime Minister of Australia) The move was criticised by several groups including academics who argued that it would not only alienate the already disenfranchised Muslim communities, but could also result in greater radicalisation (Ireland). In response to the raft of new measures perceived to be targeting Muslim communities, Australian Muslims took measured steps to voice their opposition through written statements and media releases stating that, among other things: These proposals come in the same style as those which have preceded [sic] since the Howard era. An alleged threat is blown out of all proportion as the pretext, further "tightening" of the laws is claimed necessary and rushed through, without proper national debate or community consultation. The reality of the alleged threat is also exposed by the lack of correspondence between the official 'terror threat' level, which has remained the same since 2001, and the hysterical rhetoric from government ministers. (ABC News, "Australian Muslims")Australian Muslim leaders also boycotted government meetings including a planned meeting with the Prime Minister to discuss the new laws. The Prime Minister promptly branded the boycott “foolish” (ABC News, "Tony Abbott") yet refused to acknowledge the legitimacy of the claims made in the media statements and messages by Muslim organisations that prompted the boycotts. As Australian Muslims continue to grapple with ways to legitimize their claims to citizenship, the developing discourse on national security and terrorism continues to define them as the objects of terror. Notably, the media discourse is showing some signs of accommodating the views of Muslim Australians who have found some space in the public sphere. Recent media reporting on terror activities in the Middle East has given some consideration to the voices of Muslim leaders who openly oppose violent extremism. Yet Muslims in Australia are still battling for legitimacy. Those who speak out against the hijacking of their religion by a minority who espouse a rigid and uncompromising ideology in order to justify violence often find themselves the subjects of intense scrutiny. From within their communities they are seen to be mouth pieces for an unfair and unjust government agenda that targets Muslims as objects of fear. From outside their communities they are seen to be apologists for Islam whose authenticity should be questioned if not denied. Attempts by Muslim Australians to have their voices heard through political practices that define the very nature of democracy including peaceful demonstrations, boycotts and written statements have not been taken seriously. As a result, Muslim voices in Australia are deemed illegitimate regardless of the forms or platforms through which they seek to be heard. ReferencesABC News. “Australian Muslims Denounce Proposed 'Anti-Terror' Laws”. 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