Статті в журналах з теми "Pitching WEC"

In the practical engineering applications of multi-body floating wave energy converter (WEC), the traditional geometric optimization is always expensive and time-consuming. This study aim to propose a more efficient geometry optimization strategy with a hinged double-body floating WEC as the study object. The influences of geometric parameters of the buoys on the pitching motion and energy conversion ability are analyzed by numerical simulation. Simulation results show that the resonance state of the pitching motion of the buoys mainly depends on their radius and draft rather than the length; But the length of the buoys, rather than the radius and draft, always has a significant effect on the pitching phase difference of the adjacent buoys. Based on the motion analysis and resonance response, an efficient multi-factor geometry optimization strategy is put forwarded. By the strategy, the sub-optimal and optimal geometrical parameters are solved out quickly at several typical wave conditions of China Seas. The results indicate that the optimal total length of WEC is approximately equal to the wave length. The optimal diameter of buoys is about 25% of the length of buoys. And the optimal draft should attain about 61% of the diameter.

Ocean waves are a renewable energy source with abundant reserves in Indonesia. With the vast waters of Indonesia, the development of a sea wave power plant needs to be developed. This research focuses on the development of easy-operated and maintained ocean wave converter–pendulum system (OWC – PS). The numerical simulation and experimental analysis were conducted to obtain the relation between the motion response of the pontoon array and its pendulum. The pontoon used is the trimaran type, which consists of a cylindrical pontoon as the main hull and two outriggers on its side. This study analyses the most stable array arrangement that produces maximum pitching motion and pendulum deviation. The simulation results show that the largest pitching value is in array 1, i.e., 27.91° for pontoon 1 and 38.92° for pontoon 2, which results in a maximum pendulum deviation of 100 ° for pendulums 1 and 56.2 ° for pendulum 2 over a wave period of 9 seconds. The backward motion of the pendulum in both array configurations tends to have a greater deviation than that of the forward motion. The pendulums of array 1 have different motion characteristics, represented by different deviation values in both pendulums. This phenomenon does not occur in array 2, since both pendulums in array 2 have the same deviation (with only a small discrepancy).

The effect of hydrodynamic performance of the wave energy converter (WEC)–rotor based on linear potential flow theory due to nonlinear viscous damping was investigated. Free decay tests were conducted using computational fluid dynamics (CFD) to obtain the viscous damping moment. The commonly used procedure for obtaining the damping moment is based on peak amplitudes which normally require a long time history records. Such long free decay records may not be possible in nodding WEC rotor due high damping. The energy method proposed by Bass and Haddara requires only the short and full range of the recorded data. This method provides sufficiently good results when the bodies have high damping. The method equates the rate of change of the total energy of a body undergoing free rolling/pitching to the rate of energy dissipated by the damping. The present study adopts a similar methodology for estimating the linear and linear plus quadratic damping. To incorporate the nonlinear viscous damping moment in the linear equation of motion, an equivalent linearization concept is used without neglecting the nonlinear damping effects. The hydrodynamic coefficients obtained from the linear potential flow theory, nonlinear viscous damping moment from the energy method and estimated PTO damping are used to solve the equation of motion of the WEC rotor. The estimated pitch free decay data shows good agreement with the simulated CFD results when compared to the linear viscous damping moment and better agreement is obtained with linear plus quadratic viscous damping moment. The regular and irregular wave analyses show that a considerable effect on the hydrodynamic performance of the WEC rotor is observed when the linear and linear plus quadratic viscous damping are included.

This numerical study compares the wave field generated by the spectral wave action balance code, SNL-SWAN, to the linear-wave boundary-element method (BEM) code, WAMIT. The objective of this study is to assess the performance of SNL-SWAN for modeling wave field effects produced by individual wave energy converters (WECs) and wave farms comprising multiple WECs by comparing results from SNL-SWAN with those produced by the BEM code WAMIT. BEM codes better model the physics of wave-body interactions and thus simulate a more accurate near-field wave field than spectral codes. In SNL-SWAN, the wave field’s energy extraction is modeled parametrically based on the WEC’s power curve. The comparison between SNL-SWAN and WAMIT is made over a range of incident wave conditions, including short-, medium-, and long-wavelength waves with various amounts of directional spreading, and for three WEC archetypes: a point absorber (PA), a pitching flap (PF) terminator, and a hinged raft (HR) attenuator. Individual WECs and wave farms of five WECs in various configuration were studied with qualitative comparisons made of wave height and spectra at specific locations, and quantitative comparisons of the wave fields over circular arcs around the WECs as a function of radial distance. Results from this numerical study demonstrate that in the near-field, the difference between SNL-SWAN and WAMIT is relatively large (between 20% and 50%), but in the far-field from the array the differences are minimal (between 1% and 5%). The resultant wave field generated by the two different numerical approaches is highly dependent on parameters such as: directional wave spreading, wave reflection or scattering, and the WEC’s power curve.

Abstract. A wind turbine experiences an overshoot in loading after, for example, a collective step change in pitch angle. This overshoot occurs because the wind turbine wake does not immediately reach its new equilibrium, an effect usually referred to as dynamic inflow. Vortex cylinder models and actuator disc simulations predict that the time constants of this dynamic inflow effect should decrease significantly towards the blade tip. As part of the NASA Ames Phase VI experiment, pitch steps have been performed on a turbine in controlled conditions in the wind tunnel. The measured aerodynamic forces from these experiments seemed to show much less radial dependency of the dynamic inflow time constants than expected when pitching towards low loading. Moreover the dynamic inflow effect seemed fundamentally different when pitching from low to high loading, and the reason for this behavior remained unclear in previous analyses of the experiment. High-fidelity computational fluid dynamics and free-wake vortex code computations yielded the same behavior as the experiments. In the present work these observations from the experiments and high-fidelity computations are explained based on a simple vortex cylinder wake model.

Abstract. The QBlade implementation of the lifting-line free vortex wake (LLFVW) method was tested in conditions analogous to floating platform motion. Comparisons against two independent test cases using a variety of simulation methods show good agreement in thrust forces, rotor power, blade forces and rotor plane induction. Along with the many verifications already undertaken in the literature, it seems that the code performs solidly even in these challenging cases. Further to this, the key steps are presented from a new formulation of the instantaneous aerodynamic thrust damping of a wind turbine rotor. A test case with harmonic platform motion and collective blade pitch is used to demonstrate how combining such tools can lead to a better understanding of aeroelastic stability. A second case demonstrates a non-harmonic blade pitch manoeuvre showing the versatility of the instantaneous damping method.

Abstract. This paper investigates the load alleviation capabilities of an articulated tip device, where the outermost portion of the blade can rotate with respect to the rest of the blade. Passive, semi-passive and active solutions are developed for the tip rotation. In the passive and semi-passive configurations tip pitching is mainly driven by aerodynamic loads, while for the active case the rotation is obtained with an actuator commanded by a feedback control law. Each configuration is analyzed and tested using a high-fidelity aeroservoelastic simulation environment, by considering standard operative conditions as well as fault situations. The potential benefits of the proposed blade tip concepts are discussed in terms of performance and robustness.

Objectives: Female youth fastpitch softball pitchers experience stresses to their pitching arms similar to overhand baseball pitchers, placing them at increased risk of overuse injuries. However, they continue to have demanding pitching regimens without tracking of pitch counts or dedicated days of rest. Unlike youth baseball, there is scarce literature documenting incidence of injuries and pitching regimens of female youth fastpitch softball pitchers. Our purpose was to perform an analysis of youth fastpitch pitchers reported pitching regimens, levels of competition and injuries to each major joint of both the upper and lower extremities. Methods: Institutional review board approval was obtained for this survey study. This approval included a waiver of parental or informed consent. A 2-part survey was created; the first part focused on pitching regimens while the second part focused on reported injuries. The web-based survey was managed by an online survey software system (Version 1.0, 2021 SurveyPlanet, LLC). Surveys were distributed to coaches and USA softball state commissioners with available email addresses found of the USA Softball website. they were then distributed to youth fastpitch softball pitchers age 7 to 21 years old. Responses were analyzed as a whole as well as broken up into four separate age groups; less than 10 years old (Group A), 10-13 years old (Group B), 14-17 years old (Group C) and 18-21 years old (Group D). Statistical analysis was performed with a univariable and multivariable regression analysis. Results: Regarding pitching regimens in all participants, more than 89% were right handed pitchers. Greater than 90% played on a travel team, year round and participated in private pitching lessons. The majority also pitched 3-4 days per week until the 18-21 age group. The number of innings pitched per game, pitches thrown per game and total games pitched per season increased with age. Days of rest per week decreased from 2-3 days to 0-1 day over the age of 18 (Table 1). From the reported pitching injuries per age group, no injuries were reported in pitchers under 10 years old, however injuries were reported in 51% of participants age 10-13, 80% age 14-17 and 96% age 18-21. More than 85% of all pitchers with reported injuries played on a travel team, year round and participated in private lessons. The majority pitched 3-4 days per week (B 89%, C 71%), increasing frequency especially in the 18-21 age group (D 59%). Greater than 65% of pitchers with reported injuries in all age groups threw 60-100 pitches per game. More than 50% of pitchers reported pitching in 21-30+ games per season, comparable to a starting position. Days of rest per week also decreased from 2-3 days to 0-1 day over age 18 (Table 2). The most common reported injury was to the shoulder. Elbow, knee, foot and ankle as well as back injuries were also reported in up to 40% of participants. Surgeries were reported only in participants over 14 years old about the shoulder, elbow and knee (Figure 1). Other important trends in pitchers with reported injuries were greater than 60% starting pitching before age 9 (B 89%, C 62%, D 64%). 62-68% of pitchers over 14 years old threw five or more different pitches. Unfortunately, approximately 10% (8/85) of injured pitchers did not return to pitching following their injury. Statistical analysis demonstrated pitchers were approximately two times more likely to have an injury if they threw 60-100 pitches per game (P 0.16, P 0.25). However, pitchers age 14-17 were 5-6 times more likely to have an injury than younger groups (P <0.001) and pitchers age 18-21 were 28-30 times more likely to have an injury than younger groups (P 0.002) As a single variable, participants who began pitching at less than 9 years old were two times more likely to have an injury than participants beginning over 10 years old (P 0.14, P 0.97) (Table 3). Conclusions: The windmill motion of fastpitch pitchers is not as benign as once thought. Young female pitchers are experiencing injuries at an exponentially increasing rate with age. These athletes are pitching more frequently at younger ages on year-round travel teams without concern for pitch counts or time for rest and recovery. As softball continues to grow in popularity and participation, the focus needs to turn to protecting youth pitching arms to allow for high level competition beyond high school without significant injury. A prospective study following regimens and pitch counts as well as injury surveys will help to identify risk of injury and provide guidelines for youth pitchers and coaches. [Table: see text][Table: see text][Figure: see text][Table: see text]

Abstract. This paper applies a large-eddy actuator line approach to the simulation of wind turbine wakes. In addition to normal operating conditions, a specific focus of the paper is on wake manipulation, which is performed here by derating, yaw misalignment and cyclic pitching of the blades. With the purpose of clarifying the ability of LES methods to represent conditions that are relevant for wind farm control, numerical simulations are compared to experimental observations obtained in a boundary layer wind tunnel with scaled wind turbine models. Results indicate a good overall matching of simulations with experiments. Low-turbulence test cases appear to be more challenging than moderate- and high-turbulence ones due to the need for denser grids to limit numerical diffusion and accurately resolve tip-shed vortices in the near-wake region.

This article is a sales pitch for pictures, even though art librarians already value visual materials highly. A decade’s advances in online access at a major documentary picture provider, the Library of Congress’ Prints and Photographs Division, should encourage librarians to visit the online United States national library often, and also to offer more of their own collections through the World Wide Web. Despite the beneficial digital image navigation features introduced into the Prints & Photographs Online Catalog (PPOC), many improvements are still needed and there is a long list of desirable future developments. Reference librarians, catalogers, curators, digital conversion specialists and web designers are all invited to contribute to online reference aids as well as online catalogs, to help people succeed more often in finding pictures.

Background: Ulnar collateral ligament (UCL) reconstruction (UCLR) and repair (UCLr) are the gold standards in the treatment of UCL injuries. Although return-to-play timelines after UCLR have been established, pitching biomechanical variables are speculated to change after surgical intervention. Purpose/Hypothesis: To synthesize the literature and investigate changes in pitching biomechanics in baseball pitchers after UCLR or UCLr. We hypothesized that differences in pitching biomechanics would be observed for both intra- and interpatient comparisons. Study Design: Systematic review; Level of evidence, 3. Methods: We searched 4 electronic databases (PubMed, Web of Science, SCOPUS, and Sports Medicine & Education Index) from inception to February 2020. Data extracted included author and year of publication, study design, sample size, study population, and primary outcome variables. Meta-analysis was performed to produce random pooled effect sizes (▵). Results: We identified 1010 original articles for inclusion. A total of 5 studies were included in the systematic review; of these, 3 studies were included in the meta-analysis. No differences were found in shoulder range of motion (ROM) between post-UCLR and control pitchers (dominant arm external rotation ▵, 0.13°; 95% CI, –0.15° to 4.02°; P = .36); dominant arm internal rotation ▵, –0.20°; 95% CI, –0.74° to 0.35°; P = .48). Mean fastball velocity as well as pitches thrown decreased after UCLR in professional pitchers. Significant differences in elbow extension, elbow extension velocity, and shoulder internal rotation velocity were found among amateur pitchers. Conclusion: The results of this systematic review and meta-analysis show that limited differences exist in pitchers before and after UCLR as well as in post-UCLR pitchers and healthy, age-matched controls. UCLR may influence throwing velocity, but it had no effect on either the throwing biomechanics or theROM of baseball pitchers. Although trends appear to be forming, further evidence is needed to understand the effect of UCLR on throwing biomechanics.

A wind turbine blade's structural dynamic response is simulated and analysed with the goal of characterizing the presence and severity of a shear web disbond. Computer models of a 5 MW offshore utility-scale wind turbine were created to develop effective algorithms for detecting such damage. Through data analysis and with the use of blade measurements, a shear web disbond was quantified according to its length. An aerodynamic sensitivity study was conducted to ensure robustness of the detection algorithms. In all analyses, the blade's flap-wise acceleration and root-pitching moment were the clearest indicators of the presence and severity of a shear web disbond. A combination of blade and non-blade measurements was formulated into a final algorithm for the detection and quantification of the disbond. The probability of detection was 100% for the optimized wind speed ranges in laminar, 30% horizontal shear and 60% horizontal shear conditions.

Abstract. Dynamic induction control (DIC) has proven to be an effective method of increasing the power output for a wind farm in both simulation studies and wind tunnel experiments. By pitching the blades of a wind turbine periodically, the recovery of the low-velocity wake is accelerated, thereby increasing the energy available to downstream turbines. The wake itself of a turbine operating with DIC has not yet been studied experimentally. This paper presents a wind tunnel experiment where the wake of a wind turbine under periodic excitation is investigated. Using three-dimensional particle image velocimetry, the velocity field behind the turbine was reconstructed. Analysis of the velocity fields indicated that the available power in the wake increases when using DIC. This increase was partially due to a lower average thrust force experienced by the turbine with DIC. However, a large difference was seen between measurement results and actuator disk theory, indicating enhanced recovery of the wake is contributing to the increased energy. Instantaneous measurements visualizing the development of blade tip vortices also showed how the location of vortex breakdown, which is directly related to re-energizing the wake, shifts over time with DIC. We believe this shifting location is contributing to the enhanced wake recovery of DIC, providing more energy to downstream wind turbines.

Abstract. Standard passive aerodynamic flow control devices such as vortex generators and gurney flaps have a working principle that is well understood. They increase the stall angle and the lift below stall and are mainly applied at the inboard part of wind turbine blades. However, the potential of applying a rigidly fixed leading-edge slat element at inboard blade stations is less well understood but has received some attention in the past decade. This solution may offer advantages not only under steady conditions but also under unsteady inflow conditions such as yaw. This article aims at further clarifying what an optimal two-element configuration with a thick main element would look like and what kind of performance characteristics can be expected from a purely aerodynamic point of view. To accomplish this an aerodynamic shape optimization procedure is used to derive optimal profile designs for different optimization boundary conditions including the optimization of both the slat and the main element. The performance of the optimized designs shows several positive characteristics compared to single-element airfoils, such as a high stall angle, high lift below stall, low roughness sensitivity, and higher aerodynamic efficiency. Furthermore, the results highlight the benefits of an integral design procedure, where both slat and main element are optimized, over an auxiliary one. Nevertheless, the designs also have two caveats, namely a steep drop in lift post-stall and high positive pitching moments.

An adaptable fuzzy inference technique is being described in order to generate predictive models of the acceleration of the pitching of a high speed vessel, from the data obtained from the web on an experiment conducted by the University of Iowa. The geometry of interest in the experiment is a scale model of the type 1/46.6 of the DTMB model 5415 (DDG-51). The fuzzy algorithm for the generation of the predictive model uses a triangular partition with a 0.5 overlapping and consequents of the Singleton type. The consequents are adjusted in an automatic fashion by using recursive least squares. The algorithm shows a very low computational complexity rate which allows for it to be used for on line identification.

In the context of psychosocial oncology research, disseminating study findings to a range of knowledge “end-users” can advance the well-being of diverse patient subgroups and their families. This article details how findings drawn from a study of prostate cancer support groups were repackaged in a knowledge translation website— www.prostatecancerhelpyourself.ubc.ca —using Web 2.0 features. Detailed are five lessons learned from developing the website: the importance of pitching a winning but feasible idea, keeping a focus on interactivity and minimizing text, negotiating with the supplier, building in formal pretests or a pilot test with end-users, and completing formative evaluations based on data collected through Google™ and YouTube™ Analytics. The details are shared to guide the e-knowledge translation efforts of other psychosocial oncology researchers and clinicians.

Abstract. This paper presents a feasibility analysis of vertical wake steering for floating turbines by differential ballast control. This new concept is based on the idea of pitching the floater with respect to the water surface, thereby achieving a desired tilt of the turbine rotor disk. The pitch attitude is controlled by moving water ballast among the columns of the floater. This study considers the application of differential ballast control to a conceptual 10 MW wind turbine installed on two platforms, differing in size, weight, and geometry. The analysis considers the following: (a) the aerodynamic effects caused by rotor tilt on the power capture of the wake-steering turbine and at various downstream distances in its wake; (b) the effects of tilting on fatigue and ultimate loads, limitedly to one of the two turbine-platform layouts; and (c) for both configurations, the necessary amount of water movement, the time to achieve a desired attitude, and the associated energy expenditure. Results indicate that – in accordance with previous research – steering the wake towards the sea surface leads to larger power gains than steering it towards the sky. Limitedly to the structural analysis conducted on one of the turbine-platform configurations, it appears that these gains can be obtained with only minor effects on loads, assuming a cautious application of vertical steering only in benign ambient conditions. Additionally, it is found that rotor tilt can be achieved on the order of minutes for the lighter of the two configurations, with reasonable water ballast movements. Although the analysis is preliminary and limited to the specific cases considered here, results seem to suggest that the concept is not unrealistic and should be further investigated as a possible means to achieve variable tilt control for vertical wake steering in floating turbines.

Abstract. This paper presents the integration of a near-wake model for trailing vorticity, which is based on a prescribed-wake lifting-line model proposed by Beddoes(1987), with a blade element momentum (BEM)-based far-wake model and a 2-D shed vorticity model. The resulting coupled aerodynamics model is validated against lifting-surface computations performed using a free-wake panel code. The focus of the description of the aerodynamics model is on the numerical stability, the computation speed and the accuracy of unsteady simulations. To stabilize the near-wake model, it has to be iterated to convergence, using a relaxation factor that has to be updated during the computation. Further, the effect of simplifying the exponential function approximation of the near-wake model to increase the computation speed is investigated in this work. A modification of the dynamic inflow weighting factors of the far-wake model is presented that ensures good induction modeling at slow timescales. Finally, the unsteady airfoil aerodynamics model is extended to provide the unsteady bound circulation for the near-wake model and to improve the modeling of the unsteady behavior of cambered airfoils. The model comparison with results from a free-wake panel code and a BEM model is centered around the NREL 5 MW reference turbine. The response to pitch steps at different pitching speeds is compared. By means of prescribed vibration cases, the effect of the aerodynamic model on the predictions of the aerodynamic work is investigated. The validation shows that a BEM model can be improved by adding near-wake trailed vorticity computation. For all prescribed vibration cases with high aerodynamic damping, results similar to those obtained by the free-wake model can be achieved in a small fraction of computation time with the proposed model. In the cases with low aerodynamic damping, the addition of trailed vorticity modeling shifts the results closer to those obtained by using the free-wake code, but differences remain.

Title – “Way smarter”: Valuair in the budget airline industry. Subject area – Strategic management and marketing. Study level/applicability – Executive education; postgraduate; undergraduate. Case overview – By 2004, the low-cost carrier model had just recently been introduced to Southeast Asia. Airlines under this model quickly began taking market share. Singapore ' s first budget carrier, Valuair, finds itself in fierce competition between two rapidly emerging competitors in the second half of 2004. Valuair needs to expand in order to remain competitive. However, for this to happen the company needs additional access to capital. The CEO, Sim Kay Wee, has begun pitching to investors that his company is a smart low-risk investment. Is Sim right, given Valuair ' s competitive position and the market environment in which it operates? Expected learning outcomes – Students will be able to apply strategic frameworks in order to develop an understanding of Valuair ' s market position and use this understanding to advice investment decisions. Supplementary materials – Teaching notes are available for educators only. Please contact your library to gain login details or e-mail support@emeraldinsight.com to request teaching notes.

Subject area Strategic management and marketing. Study level/applicability Executive education; postgraduate; undergraduate. Case overview By 2004, the low-cost carrier model had just recently been introduced to Southeast Asia. Airlines under this model quickly began taking market share. Singapore's first budget carrier, Valuair, finds itself in fierce competition between two rapidly emerging competitors in the second half of 2004. Valuair needs to expand in order to remain competitive. However, for this to happen the company needs additional access to capital. The CEO, Sim Kay Wee, has begun pitching to investors that his company is a smart low-risk investment. Is Sim right, given Valuair's competitive position and the market environment in which it operates? Expected learning outcomes Students will be able to apply strategic frameworks in order to develop an understanding of Valuair's market position and use this understanding to advice investment decisions. Supplementary materials Teaching notes are available for educators only. Please contact your library to gain login details or e-mail support@emeraldinsight.com to request teaching notes.

Context The advent of Web-based sports injury surveillance via programs such as the High School Reporting Information Online system and the National Collegiate Athletic Association Injury Surveillance Program has aided the acquisition of boys' and men's baseball injury data. Objective To describe the epidemiology of injuries sustained in high school boys' baseball in the 2005–2006 through 2013–2014 academic years and collegiate men's baseball in the 2004–2005 through 2013–2014 academic years using Web-based sports injury surveillance. Design Descriptive epidemiology study. Setting Online injury surveillance from baseball teams in high school boys (annual average = 100) and collegiate men (annual average = 34). Patients or Other Participants Boys' or men's baseball players who participated in practices and competitions during the 2005–2006 through 2013–2014 academic years in high school or the 2004–2005 through 2013–2014 academic years in college, respectively. Main Outcome Measure(s) Athletic trainers collected time-loss injury and exposure data. Injury rates per 1000 athlete-exposures (AEs) were calculated. Injury rate ratios (IRRs) with 95% confidence intervals (CIs) compared injury rates by school size or division, time in season, event type, and competition level. Results The High School Reporting Information Online system documented 1537 time-loss injuries during 1 573 257 AEs; the National Collegiate Athletic Association Injury Surveillance Program documented 2574 time-loss injuries during 804 737 AEs. The injury rate was higher in college than in high school (3.20 versus 0.98/1000 AEs; IRR = 3.27; 95% CI = 3.07, 3.49). The competition injury rate was higher than the practice injury rate in high school (IRR = 2.27; 95% CI = 2.05, 2.51) and college (IRR = 2.32; 95% CI = 2.15, 2.51). Baseball players at the high school and collegiate levels sustained a variety of injuries across the body, with the most common injuries reported to the upper extremity. Many injuries also occurred while fielding or pitching. Conclusions Injury rates were greater in collegiate versus high school baseball and in competition versus practice. These findings highlight the need for injury-prevention interventions focused on reducing the incidence of upper extremity injuries and protecting batters from pitches and fielders from batted balls.

Background: The incidence of shoulder and elbow injuries among adolescent baseball players is on the rise. These injuries may lead to surgery or retirement at a young age. Purpose: To identify independent risk factors for elbow and shoulder injuries in adolescent baseball players. A secondary aim was to determine whether the literature supports the Major League Baseball and USA Baseball Pitch Smart guidelines. Study Design: Systematic review. Methods: A systematic review was performed in accordance with PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) guidelines utilizing MEDLINE, SPORTDiscus, and Web of Science. Because of study heterogeneity, a quantitative synthesis was not performed. A qualitative review was performed on 19 independent risk factors for elbow and shoulder injuries in adolescent baseball players. Level of evidence was assigned per the Oxford Centre for Evidence-Based Medicine Working Group, and risk of bias was graded per the Newcastle-Ottawa Scale. Results: Twenty-two articles met criteria for inclusion. Of the 19 independent variables that were analyzed, age, height, playing for multiple teams, pitch velocity, and arm fatigue were found to be independent risk factors for throwing arm injuries. Pitches per game appears to be a risk factor for shoulder injuries. Seven independent variables (innings pitched per game, showcase participation, games per year, training days per week, pitch type, shoulder external rotation, and shoulder total range of motion) do not appear to be significant risk factors. The data were inconclusive for the remaining 6 variables (weight, months of pitching per year, innings or pitches per year, catching, shoulder horizontal adduction, and glenohumeral internal rotation deficit). Conclusion: The results from this study demonstrate that age, height, playing for multiple teams, pitch velocity, and arm fatigue are clear risk factors for throwing arm injuries in adolescent baseball players. Pitches per game appears to be a risk factor for shoulder injuries. Other variables are either inconclusive or do not appear to be specific risk factors for injuries.

TechUp is a site based chatbot. This chatbot can make it simple to interface with the site. The bot fathoms and talks with the customer in Simple Language. This chatbot is associated with an online business webpage. This site has an arrangement of things. The chatbot makes you settle on a decision which thing is sensible for you. Its abilities on a very basic level like an online mechanized collaborator. . The reason for this undertaking is to give a simple shopping office on the web and simple pitching office to the shippers everything being equal. The thought regarding this application is that it will assist the client with interacting with the online business motor through a canny collaborator.

Di Indonesia, baru ada sedikit bukti nyata terjadinya Timmons Model yang muncul bersamaan dengan rasa kebutuhan akan prestasi sebagai prediktor dorongan membuka bisnis online atau disebut “E-preneur”. Penelitian sebelumnya mengungkapkan bahwa mahasiswa menilai pendidikan kewirausahaan sebagai hal yang negatif. Oleh karena itu, penelitian kali ini akan menguji variabel laten secara bersamaan dalam dimensi Timmons Model yang dikombinasikan dengan kebutuhan akan prestasi (Need for achievement) dalam menciptakan “E-preneur” Intention. Penelitian ini menggunakan metode Partial Least Square (PLS) dan juga purposive sampling dalam survey kepada 106 mahasiswa bisnis dan manajemen di Jakarta dan Bandung. Hasil penelitian ini menunjukkan bahwa opportunity berpengaruh positif pada need for achievement dan intensi berwirausaha di bidang online, web dan aplikasi (E-preneur). Kemudian, entrepreneurial team memiliki pengaruh positif dalam menciptakan dorongan untuk menjadi “E-preneur” dan tidak signifikan terhadap need for achievement. Hasil penelitian ini menunjukkan bahwa universitas berbasis kewirausahaan harus mengadakan semakin banyak kegiatan eksperiensial seperti pinjaman kredit lunak dan presentasi langsung (direct pitching) dengan investor yang sebenarnya.

IntroductionFor both consumers and creators, Web series have been viewed for some time as an appealing alternative to television series. As Alice explains, creating content for the Web was once seen as “a last resort” for projects that were unable to secure funding for television production (59). However, the Web has, in recent years, become a “legitimized” space, allowing Web series to be considered a media platform capable of presenting narratives of various genres (Alice 59). Moreover, due to the lack of restrictions and overheads placed on Web producers, it is argued that there is more capacity to take risks in Web series and thus depict “a broader array of stories” (Christian, “The Web” 352). Nevertheless, television still remains the traditional mode of storytelling, and for many producers, it is still an “object of desire” (Christian, “The Web” 352). Emerging producers still see television as the ultimate “end goal”, leaving the Web as a sufficient platform that will allow them to create something. Alternatively, for many established creators, the Web is understood to be a stage upon which they can tell stories television would perhaps never consider. Regardless of why creators are attracted to the Web, the platform has indeed cemented its place as an alternative in the television media landscape. For Abbi Jacobson and Ilana Glazer, the Web, or more specifically, YouTube, provided an unbridled space for their creativity when nowhere else would. The two comediennes co-wrote and starred in their Web series, Broad City, back in 2009, and it has since been picked up by Comedy Central and successfully turned into a television series. The fourth season is set to air in August 2017. Both versions of the series follow two twenty-something women, Abbi Abrams and Ilana Wexler (played by Jacobson and Glazer respectively), as they explore themselves, and New York City. Broad City is one of the few Web series to be picked up as a television series and maintain its success; an impressive accomplishment, no matter how legitimate Web series have become. However, the unwavering devotion maintained by the television series to continue depicting millennial women in the same fashion as the Web series is, arguably, more impressive. With a focus on Broad City’s depiction of its two eccentric protagonists, this article explores how the transitions from Web to television are negotiated. In the case of Broad City, I contend that its unconventional start as a web series is what allows the television series to continue depicting contemporary womanhood honestly. Taking the Alternate Path: YouTubeDefined as “scripted, episodic and experimental videos made for the internet”, Web episodes (or Webisodes) hold many advantages to the traditional television medium (Kornblum; Peirce 317). Aware of these advantages and struggling to be noticed naturally for their work in the sketch comedy group, Upright Citizens Brigade (UCB), Glazer and Jacobson took to the Internet to write and create their own series, Broad City. This trend arose in 2007 during the difficult phase American television when the Writers Guild of America began its fifteen-month strike (De Moraes). During this time, Peirce states that producing a new program for television proved “almost impossible” (315). There was a level of uncertainty plaguing the future of prime-time television, and with budgets being refashioned, reality programs were filling television line-ups more than any other genre of show (Peirce 315). Within this climate, it is unsurprising that the Google-owned video-sharing website, YouTube, quickly became the frontrunner in online video (Christian, “The Web” 351). YouTube is argued to be responsible for opening the doors to the next wave of entertainment media, after pledging to give users their own personal video network. Suddenly, amateurs, independents and corporations alike were, for the first time, able to compete against each other in shaping this post-network era of television (Christian, “The Web” 351). Moreover, the premise of “anyone can upload” meant that this era allowed for a new variety of television, in a range of genres and storytelling modes that were once considered untouchable to television networks (Christian, “The Web” 351). Evidently, such freedom is appealing to all kinds of online content creators, no matter their status. Established actor, comedian, and writer Louis C.K. most recently joined the Web series movement with his creation Horace and Pete (2016-). The dark comedy is written, directed, and produced entirely by C.K. and he plays the main protagonist, Horace. However, the appeal was not so much the control he would potentially have over the product, but more how the viewers could access it. Upon the release of the pilot episode, C.K. released a statement clarifying why he made a series outside of the television studio system. He explains that he was intrigued by the idea of providing viewers with the newly made show “directly and immediately”, with each episode being posted onto his Website as soon as it is shot. Additionally, C.K. also sought to create a show “without the usual promotion” that, he states, tells the viewer “what the show feels and looks like before you get to see it yourself” (C.K.). It is clear that the unique nature of the modern medium provides benefits to creators at all levels. For the Broad City duo, who unlike C.K., had yet to be noticed, YouTube was appealing because it provided them with an outlet through which they could control the product themselves. Jacobson states, “After a while, we thought, ‘why are we trying to be on something that someone else controls?’” (Paumgarten). The Web series commenced in late 2009 and ran until 2011, with each episode ranging anywhere between one and eight minutes. In the thirty-three episodes created, Abbi and Ilana consistently find themselves in awkward and comedic situations while they try to navigate their lives in New York City. These awkward situations vary in their complexity. One episode simply looks at the two protagonists trying to survive riding the subway, while another looks at the issue of being catcalled and objectified by strangers. There is no narrative arc in either season, the storylines are simply extracted from the lives of the creators. Glazer and Jacobson have discussed this in various interviews, explaining that these characters are essentially exaggerations of themselves and the show is a “heightened version” of their dynamic (Amy Poehler’s Smart Girls, 2014; Justin; Matthews). As such, Broad City contributes to a well-established trend of comedians impersonating younger, lazier, and poorer versions of themselves. However, since the Web series’ thematic relies so heavily on the experiences and personality traits of the writers, Glazer and Jacobson are more like the characters they portray than the likes of Tina Fey’s Liz Lemon (30 Rock, 2007-2013) or Lena Dunham’s Hannah Horvath (Girls, 2012-), for example. A result is that the Web series does not seek to provide its viewers with neat conclusions, or have the protagonists grow and evolve over the span of a season. This freedom is only designated to the Web series format, as television viewers – despite not always getting it – yearn for a heartier resolution (DeFino 99). Another attribute of video-sharing sites like YouTube is that they allow anyone to share anything they create, regardless of the budget. The two seasons of Broad City, the Web series, are written, created, and produced by Glazer and Jacobson primarily. As they were still undiscovered, both women were working on the series with very limited funds, and were therefore only able to have friends or family assist them in the production. This results in a series which feels authentically home-made in its aesthetic; features which eventually become characteristics essential to the transferral from Web to television. Glazer and Jacobson resolved to make the Web series from a more professional standpoint by the second season by following a production schedule and choosing to treat the vignettes as if they were real television shorts. As Glazer states, the pair “just had a new attitude”, and suddenly the aim shifted from producing webisodes as a creative outlet, to pitching the show in Los Angeles (Kameir). By the time the final episode was set to go into production, the two creators believed that the chances of having the series picked up by a network would increase if the episode featured a guest star. Because of their involvement in the UCB, Glazer and Jacobson approached one of the founders of the sketch group, Amy Poehler, to make a brief cameo. The Web series as a whole had garnered half a million hits, but the finale in which Poehler plays herself, received almost seventy-five thousand (Paumgarten). Poehler agreed to work with the Broad City duo following her appearance in the finale, and signed on to be Executive Producer should the show ever be made into a television series. The star power held by Poehler is undoubtedly a lead contributor to the success in Broad City’s transfer between the media. Poehler states that she felt a kinship towards the project because of her work in translating UCB sketches to television. In a roundtable interview, she says “Feeling very protective about the material, but wanting to bring it to a bigger audience…I related to that and understood it” (The Paley Centre for Media). On the difficult business of bringing Web series to television, Poehler compares it to that of an organ transplant, explaining “You have to move fast. You have to keep it on ice and be careful not to harm it in any way. A lot of things can go wrong. Sometimes the best way to get a heart or a kidney to a recipient is to get people to move out of the way” (Paumgarten). With Poehler’s assistance, the concept of Broad City as a television series was introduced to various networks before being successfully picked up by Comedy Central. From January of 2014, the network aired Broad City’s first season, comprised of ten, twenty-two-minute-long episodes. Averaging 1.2 million viewers per episode, season one of Broad City became one of Comedy Central’s highest rated shows since 2012 (Ng). From Web to TV: Alternative Ideas of Millennial Women in Broad CityThe factors behind why certain texts effectively transfer from Web to television and others fail continues to be debated within academic and popular culture circles. Series such as Quarterlife (2007), The CollegeHumor Show (2009), and the more recent Haters Back Off (2016-) - all texts which were originally made for online consumption only - were each met with criticism when translated for television (Peirce 317; Lowry; Christian, “How” ). This does not necessarily mean that a Web series is undeserving of a place in commercial or network television. Obviously, it comes down to multiple factors, but often it is because the television series comes across as out of touch, compared to its online version. As Alice points out, with the speed of online release, and the “virality” that accompanies this kind of media, writers have the ability to be “guided by and to capitalise on what and how the viewer public feels” (60). Television series are often seen commenting on outside criticism within episodes, but there is extensive lagging due to the time it takes to produce a season. Broad City was set to have an easier time on television, what with its impressive following, and “Celebrity Shepherd”, Amy Poehler - Poehler presented as a necessity when making the jump from Web to TV, according to Christian (“The Web”). But there appears to be a fine line when shifting between the platforms: in staying too close to the original, a series could come off as unoriginal and therefore unnecessary. Or, alternatively, a series could add too many other storylines in order to fill the time slot, and ruin the simplicity of the premise. Adaptation theorist, Linda Hutcheon, contends that a successful translation occurs when a text remains loyal to the original, but brings creativity to the reimagining (21). If investigating the transferral within the realm of adaptation theory, Broad City’s success as a television series is arguably due to it following this formula. Hutcheon writes that to adapt is not to slavishly copy, but rather, is the process of reclaiming the adapted material. “What one does with the text” is where the novelty is found (21). In looking at what Broad City, the television series, has done with Broad City, the Web series, there is clear loyalty shown to the original. This is seen most significantly in the treatment of the same two protagonists, and the dynamic of their friendship. In both versions of Broad City, Abbi is the older of the two and the more responsible one, to a degree. While she still enjoys smoking marijuana with Ilana, Abbi is also constantly striving to reach traditional goals in her life such as having a career she enjoys, or maintaining a healthy relationship. Ilana, on the other hand, is a proud marijuana enthusiast who occasionally shows up for her job, but cares more for smoking weed, enjoying casual sex, and being with her friends (primarily Abbi). Neither the Web series nor the television series explicitly states how the two characters met, but it is implied that they have built a strong, sister-like relationship with one another. Often Ilana comments on her sexual attraction to Abbi, but it is always seen as comedic rather than as a hint towards a possible coupling in future episodes. In the Web series’ second season, the episode Valentine’s Day, introduces this satirical take on female friendships for the first time. The three-minute episode shows brief cuts of Abbi and Ilana doing various activities in the city, all of which are stereotypically featured in films of the romantic comedy genre. As they play in the snow, ride a ferry, and watch couples ice-skate at the Rockefeller Centre, the clarinet music playing over the sequence builds momentum. However, the scene is suddenly halted as Ilana goes in to kiss Abbi and, unlike in said romantic film montages, Abbi quickly jolts back and cries “Ilana, what the fuck? How many times do I have to fucking tell you?” This is the first line of audible dialogue in the scene thus far, to which a frustrated Ilana responds, “I’m trying to seal the night with a kiss.” Following this is a heated debate regarding how each character viewed the intention of the day, with Ilana thinking it was a really “romantic day”, despite knowing that Abbi is decidedly heterosexual. This kind of satirical angle taken towards the trope of female friendship is carried over to the television series and made just as prominent, with almost every single episode making a joke at Ilana’s romantic desire for Abbi. Alongside the sexual attraction, the closeness of the two female leads remains unchanged between the two media. In the television series, for example, jokes about Ilana’s love for Abbi are scattered throughout, and as in the original series, they remain brief and inconsequential. In the television pilot, What a Wonderful World, the episode opens to a typical scene of the two characters having a V-chat (a nod to a favoured motif in the Web series). While chatting to Abbi, it initially appears as though Ilana is bopping up and down to the music of Lil Wayne. However, it is quickly revealed when Ilana shifts her laptop screen down, that she is actually having sex with her casual partner, Lincoln (Hannibal Buress). The sequence cuts to Abbi looking outraged at her laptop, asking “Oh my god, is that Lincoln?”. Lincoln then replies, “Yep”, just before the camera cuts to him lying on the bed, with Ilana’s laptop on his stomach. When Abbi asks if they are having sex, Ilana casually replies “I’m just keeping it warm”, forcing Abbi to once again have a discussion about boundaries. Once they close the V-chat, the scene stays on a low angle shot of Ilana as she says to Lincoln, “That was like a threesome”, reassuring the audience that she has learned nothing. This is a strong opening scene as it reinforces the understanding that the relationship between the two characters is unchanged. Furthermore, it proves to audiences that although Broad City has moved into a television landscape, it will not be tamed. The result of refusing to be tamed in its new environment is that Broad City can continue representing female friendship in more honest ways, as well as offer new ideas of what it is to be a millennial woman today.Conclusion In an interview, Glazer explains how television has a history of never being honest in its representation of women, arguing, “Nothing’s real on TV” (Miller). Jacobson follows on from this, stating “When we write for these characters… I think the thing we talk about the most is like, well, what would we really do? It’s just real” (Miller). In abiding by this sentiment throughout the web series and the television series, Broad City effectively offers the idea that depicting diversity is possible on both platforms. With various Web series still unable to successfully make the jump to television today, it becomes more obvious that Broad City’s decision to continue showcasing bold female narratives is what allows it to maintain its popularity. Starting in such an uninhibited environment has proven a burden for other texts when it comes to transferring creativity to the more traditional medium of television. For Broad City, however, the alternative storytelling platform allowed the show to create its strong foundation and dedicated fan base. One that has willingly followed Broad City across the platforms, but will only stay tuned if it stays true to representing millennial women honestly, regardless of whether mainstream television is ready.ReferencesAlice, Jessica. “Clicking with Audiences: Web Series and Diverse Representations.” Metro Magazine: Media and Education 187 (2016): 58-63.Angelo, Megan. “The Sneak Attack Feminism of Broad City.” Wall Street Journal, 2011. 17 Dec. 2016 <http://blogs.wsj.com/speakeasy/2011/02/14/the-sneak-attack-feminism-of-broad-city/>. Blay, Zeba, “How Feminist TV Became the New Normal.” Huffington Post, 2015. 15 Dec. 2016. <http://www.huffingtonpost.com.au/entry/how-feminist-tv-became-the-new-normal_n_7567898>. Broad City. Comedy Central. New York City. 22 Jan. 2014. Television.“Broad City: Smart Girls w/ Amy Poehler.” YouTube. Uploaded by Amy Poehler’s Smart Girls, 17 May 2013. 15 Dec. 2016 <https://www.youtube.com/watch?v=gd0Lovd4Xv0>.Christian, Aymar Jean. “How Does a Web Series Jump to TV?” IndieWire 2014. 2 Dec. 2016. 15 Dec. 2016 <http://www.indiewire.com/2014/02/how-does-a-web-series-jump-to-tv-29618/>. ———. “The Web as Television Reimagined? Online Networks and the Pursuit of Legacy Media.” Journal of Communication Enquiry 36.4 (2012): 340-356.C.K., Louis. “On Horace and Pete.” LouisCK 2016. 2 Jan. 2017 <https://louisck.net/news/about-horace-and-pete>. DeFino, D.J. The HBO Effect. Sydney: Bloomsbury Academic, 2014. De Moraes, L. "Score One for Old Media." Washington Post, 27 Feb. 2008. 28 Dec. 2016 <www.washingtonpost.com/wp-dyn/content/article/2008/02/27/AR2008022703374.html>. Girls. HBO Time Warner. New York City. 15 Apr. 2012. Television. Haters Back Off. Netflix. Scotts Valley. 14 Oct. 2016. Television. Hutcheon, L. A Theory of Adaptation. 2nd ed. New York: Routledge, 2013. Kameir, R. “7 Tips for Making a Hit TV Show, According to the Creators of Broad City.” Fader 22 May 2015. 1 Aug. 2016 <http://www.thefader.com/2015/05/22/7-tips-for-making-a-hit-tv-show-according-to-the-creators-of-broad-city>. Kornblum, Janet, “Check Out These Episodes of Webisodes.” USA Today 12 Dec. 2007. 16 Dec. 2016 <http://www.usatoday.com/life/2007-11-12-webisodes-side_N.htm>.Lowry, Brian, “’Haters Back Off’ Doesn’t Earn Much Love on Netflix.” CNN 12 Oct. 2016. 2 Dec. 2016 <http://edition.cnn.com/2016/10/12/entertainment/haters-back-off-review/>.Miller, B. “Broad City Talks Friendship, Feminism, and F*ck/Marry/Kill.” Bust Magazine 2015. 17 Nov. 2016 <http://bust.com/tv/13755-broad-city-talks-friendship-feminism-and-f-ck-marry-kill.html>.Ng, P. “Comedy Central Renews ‘Broad City’ for Second Season.” Hollywood Reporter 2014. 1 Aug. 2016 <http://www.hollywoodreporter.com/live-feed/broad-city-renewed-season-2-683083>.Paley Center for Media. “Broad City – Ilana Glazer, Abbi Jacobson, Amy Poehler, and Seth Rogen.” YouTube. Uploaded by The Paley Center for Media, 16 Dec. 2014. 15 Dec. 2016 <https://www.youtube.com/watch?v=4Ab9AmSk8Yg>.Pierce, Meghan L. “Remediation Theory: Analyzing What Made Quarterlife Successful as an Online Series and Not a Television Series.” Television & New Media 12.4 (2011): 314-325. Quarterlife. NBC. Los Angeles. 26 Feb. 2008. Television.The CollegeHumor Show. MTV. New York City. 8 Feb. 2009. Television. 30 Rock. NBC. Los Angeles. 3 Dec. 2007. Television. “Valentine’s Day.” YouTube. Uploaded by Broad City, 12 Feb. 2011. 15 Dec. 2016 <https://www.youtube.com/watch?v=JcoJW2BOs6g&index=1&list=PLA51423997CDEA1DA>. “What a Wonderful World.” Broad City. Comedy Central, 22 Jan. 2014. Television.

Introduction The recent AOL/Time-Warner merger invites us to re-think the relationships amongst content producers, distributors, and audiences. Worth an estimated $300 billion (US), the largest Internet transaction of all time, the deal is 45 times larger than the AOL/Netscape merger of November 1998 (Ledbetter). Additionally, the Time Warner/EMI merger, which followed hard on the heels of the AOL/Time-Warner deal and is itself worth $28 billion (US), created the largest content rights organisation in the music industry. The joining of the Internet giant (AOL) with what was already the world's largest media corporation (Time-Warner-EMI) has inspired some exuberant reactions. An Infoworld column proclaimed: The AOL/Time-Warner merger signals the demise of traditional media companies and the ascendancy of 'new economy' media companies that will force any industry hesitant to adopt a complete electronic-commerce strategy to rethink and put itself on Internet time. (Saap & Schwarrtz) This comment identifies the distribution channel as the dominant component of the "new economy" media. But this might not really be much of an innovation. Indeed, the assumption of all industry observers is that Time-Warner will provide broadband distribution (through its extensive cable holdings) as well as proprietary content for AOL. It is also expected that Time-Warner will adopt AOL's strategy of seeking sponsorship for development projects as well as for content. However, both of these phenomena -- merger and sponsorship -- are at least as old as radio. It seems that the Internet is merely repeating an old industrial strategy. Nonetheless, one important difference distinguishes the Internet from earlier media: its characterisation of the audience. Internet companies such as AOL and Microsoft tend towards a simple and simplistic media- centred view of the audience as market. I will show, however, that as the Internet assumes more of the traditional mass media functions, it will be forced to adopt a more sophisticated notion of the mass audience. Indeed, the Internet is currently the site in which audience definitions borrowed from broadcasting are encountering and merging with definitions borrowed from marketing. The Internet apparently lends itself to both models. As a result, definitions of what the Internet does or is, and of how we should understand the audience, are suitably confused and opaque. And the behaviour of big Internet players, such as AOL and MSN, perfectly reflects this confusion as they seem to careen between a view of the Internet as the new television and a contrasting view of the Internet as the new shopping mall. Meanwhile, Internet users move in ways that most observers fail to capture. For example, Baran and Davis characterise mass communication as a process involving (1) an organized sender, (2) engaged in the distribution of messages, (3) directed toward a large audience. They argue that broadcasting fits this model whereas a LISTSERV does not because, even though the LISTSERV may have very many subscribers, its content is filtered through a single person or Webmaster. But why is the Webmaster suddenly more determining than a network programmer or magazine editor? The distinction seems to grow out of the Internet's technological characteristics: it is an interactive pipeline, therefore its use necessarily excludes the possibility of "broadcasting" which in turn causes us to reject "traditional" notions of the audience. However, if a media organisation were to establish an AOL discussion group in order to promote Warner TV shows, for example, would not the resulting communication suddenly fall under the definition as set out by Baran and Davis? It was precisely the confusion around such definitions that caused the CRTC (Canada's broadcasting and telecommunications regulator) to hold hearings in 1999 to determine what kind of medium the Internet is. Unlike traditional broadcasting, Internet communication does indeed include the possibility of interactivity and niche communities. In this sense, it is closer to narrowcasting than to broadcasting even while maintaining the possibility of broadcasting. Hence, the nature of the audience using the Internet quickly becomes muddy. While such muddiness might have led us to sharpen our definitions of the audience, it seems instead to have led many to focus on the medium itself. For example, Morris & Ogan define the Internet as a mass medium because it addresses a mass audience mediated through technology (Morris & Ogan 39). They divide producers and audiences on the Internet into four groups: One-to-one asynchronous communication (e-mail); Many-to-many asynchronous communication (Usenet and News Groups); One-to-one, one-to-few, and one-to-many synchronous communication (topic groups, construction of an object, role-playing games, IRC chats, chat rooms); Asynchronous communication (searches, many-to-one, one-to-one, one to- many, source-receiver relations (Morris & Ogan 42-3) Thus, some Internet communication qualifies as mass communication while some does not. However, the focus remains firmly anchored on either the sender or the medium because the receiver --the audience -- is apparently too slippery to define. When definitions do address the content distributed over the Net, they make a distinction between passive reception and interactive participation. As the World Wide Web makes pre-packaged content the norm, the Internet increasingly resembles a traditional mass medium. Timothy Roscoe argues that the main focus of the World Wide Web is not the production of content (and, hence, the fulfilment of the Internet's democratic potential) but rather the presentation of already produced material: "the dominant activity in relation to the Web is not producing your own content but surfing for content" (Rosco 680). He concludes that if the emphasis is on viewing material, the Internet will become a medium similar to television. Within media studies, several models of the audience compete for dominance in the "new media" economy. Denis McQuail recalls how historically, the electronic media furthered the view of the audience as a "public". The audience was an aggregate of common interests. With broadcasting, the electronic audience was delocalised and socially decomposed (McQuail, Mass 212). According to McQuail, it was not a great step to move from understanding the audience as a dispersed "public" to thinking about the audience as itself a market, both for products and as a commodity to be sold to advertisers. McQuail defines this conception of the audience as an "aggregate of potential customers with a known social- economic profile at which a medium or message is directed" (McQuail, Mass 221). Oddly though, in light of the emancipatory claims made for the Internet, this is precisely the dominant view of the audience in the "new media economy". Media Audience as Market How does the marketing model characterise the relationship between audience and producer? According to McQuail, the marketing model links sender and receiver in a cash transaction between producer and consumer rather than in a communicative relationship between equal interlocutors. Such a model ignores the relationships amongst consumers. Indeed, neither the effectiveness of the communication nor the quality of the communicative experience matters. This model, explicitly calculating and implicitly manipulative, is characteristically a "view from the media" (McQuail, Audience 9). Some scholars, when discussing new media, no longer even refer to audiences. They speak of users or consumers (Pavick & Dennis). The logic of the marketing model lies in the changing revenue base for media industries. Advertising-supported media revenues have been dropping since the early 1990s while user-supported media such as cable, satellite, online services, and pay-per-view, have been steadily growing (Pavlik & Dennis 19). In the Internet-based media landscape, the audience is a revenue stream and a source of consumer information. As Bill Gates says, it is all about "eyeballs". In keeping with this view, AOL hopes to attract consumers with its "one-stop shopping and billing". And Internet providers such as MSN do not even consider their subscribers as "audiences". Instead, they work from a consumer model derived from the computer software industry: individuals make purchases without the seller providing content or thematising the likely use of the software. The analogy extends well beyond the transactional moment. The common practice of prototyping products and beta-testing software requires the participation of potential customers in the product development cycle not as a potential audience sharing meanings but as recalcitrant individuals able to uncover bugs. Hence, media companies like MTV now use the Internet as a source of sophisticated demographic research. Recently, MTV Asia established a Website as a marketing tool to collect preferences and audience profiles (Slater 50). The MTV audience is now part of the product development cycle. Another method for getting information involves the "cookie" file that automatically provides a Website with information about the user who logs on to a site (Pavick & Dennis). Simultaneously, though, both Microsoft and AOL have consciously shifted from user-subscription revenues to advertising in an effort to make online services more like television (Gomery; Darlin). For example, AOL has long tried to produce content through its own studios to generate sufficiently heavy traffic on its Internet service in order to garner profitable advertising fees (Young). However, AOL and Microsoft have had little success in providing content (Krantz; Manes). In fact, faced with the AOL/Time-Warner merger, Microsoft declared that it was in the software rather than the content business (Trott). In short, they are caught between a broadcasting model and a consumer model and their behaviour is characteristically erratic. Similarly, media companies such as Time-Warner have failed to establish their own portals. Indeed, Time-Warner even abandoned attempts to create large Websites to compete with other Internet services when it shut down its Pathfinder site (Egan). Instead it refocussed its Websites so as to blur the line between pitching products and covering them (Reid; Lyons). Since one strategy for gaining large audiences is the creation of portals - - large Websites that keep surfers within the confines of a single company's site by providing content -- this is the logic behind the AOL/Time-Warner merger though both companies have clearly been unsuccessful at precisely such attempts. AOL seems to hope that Time- Warner will act as its content specialist, providing the type of compelling material that will make users want to use AOL, whereas Time- Warner seems to hope that AOL will become its privileged pipeline to the hearts and minds of untold millions. Neither has a coherent view of the audience, how it behaves, or should behave. Consequently, their efforts have a distinctly "unmanaged" and slighly inexplicable air to them, as though everyone were simultaneously hopeful and clueless. While one might argue that the stage is set to capitalise on the audience as commodity, there are indications that the success of such an approach is far from guaranteed. First, the AOL/Time-Warner/EMI transaction, merely by existing, has sparked conflicts over proprietary rights. For example, the Recording Industry Association of America, representing Sony, Universal, BMG, Warner and EMI, recently launched a $6.8 billion lawsuit against MP3.com -- an AOL subsidiary -- for alleged copyright violations. Specifically, MP3.com is being sued for selling digitized music over the Internet without paying royalties to the record companies (Anderson). A similar lawsuit has recently been launched over the issue of re- broadcasting television programs over the Internet. The major US networks have joined together against Canadian Internet company iCravetv for the unlawful distribution of content. Both the iCravetv and the MP3.com cases show how dominant media players can marshal their forces to protect proprietary rights in both content and distribution. Since software and media industries have failed to recreate the Internet in the image of traditional broadcasting, the merger of the dominant players in each industry makes sense. However, their simultaneous failure to secure proprietary rights reflects both the competitive nature of the "new media economy" and the weakness of the marketing view of the audience. Media Audience as Public It is often said that communication produces social cohesion. From such cohesion communities emerge on which political or social orders can be constructed. The power of social cohesion and attachment to group symbols can even create a sense of belonging to a "people" or nation (Deutsch). Sociologist Daniel Bell described how the mass media helped create an American culture simply by addressing a large enough audience. He suggested that on the evening of 7 March 1955, when one out of every two Americans could see Mary Martin as Peter Pan on television, a kind of social revolution occurred and a new American public was born. "It was the first time in history that a single individual was seen and heard at the same time by such a broad public" (Bell, quoted in Mattelart 72). One could easily substitute the 1953 World Series or the birth of little Ricky on I Love Lucy. The desire to document such a process recurs with the Internet. Internet communities are based on the assumption that a common experience "creates" group cohesion (Rheingold; Jones). However, as a mass medium, the Internet has yet to find its originary moment, that event to which all could credibly point as the birth of something genuine and meaningful. A recent contender was the appearance of Paul McCartney at the refurbished Cavern Club in Liverpool. On Tuesday, 14 December 1999, McCartney played to a packed club of 300 fans, while another 150,000 watched on an outdoor screen nearby. MSN arranged to broadcast the concert live over the Internet. It advertised an anticipated global audience of 500 million. Unfortunately, there was such heavy Internet traffic that the system was unable to accommodate more than 3 million people. Servers in the United Kingdom were so congested that many could only watch the choppy video stream via an American link. The concert raises a number of questions about "virtual" events. We can draw several conclusions about measuring Internet audiences. While 3 million is a sizeable audience for a 20 minute transmission, by advertising a potential audience of 500 million, MSN showed remarkably poor judgment of its inherent appeal. The Internet is the first medium that allows access to unprocessed material or information about events to be delivered to an audience with neither the time constraints of broadcast media nor the space limitations of the traditional press. This is often cited as one of the characteristics that sets the Internet apart from other media. This feeds the idea of the Internet audience as a participatory, democratic public. For example, it is often claimed that the Internet can foster democratic participation by providing voters with uninterpreted information about candidates and issues (Selnow). However, as James Curran argues, the very process of distributing uninterrupted, unfiltered information, at least in the case of traditional mass media, represents an abdication of a central democratic function -- that of watchdog to power (Curran). In the end, publics are created and maintained through active and continuous participation on the part of communicators and audiences. The Internet holds together potentially conflicting communicative relationships within the same technological medium (Merrill & Ogan). Viewing the audience as co-participant in a communicative relationship makes more sense than simply focussing on the Internet audience as either an aggregate of consumers or a passively constructed symbolic public. Audience as Relationship Many scholars have shifted attention from the producer to the audience as an active participant in the communication process (Ang; McQuail, Audience). Virginia Nightingale goes further to describe the audience as part of a communicative relationship. Nightingale identifies four factors in the relationship between audiences and producers that emphasize their co-dependency. The audience and producer are engaged in a symbiotic relationship in which consumption and use are necessary but not sufficient explanations of audience relations. The notion of the audience invokes, at least potentially, a greater range of activities than simply use or consumption. Further, the audience actively, if not always consciously, enters relationships with content producers and the institutions that govern the creation, distribution and exhibition of content (Nightingale 149-50). Others have demonstrated how this relationship between audiences and producers is no longer the one-sided affair characterised by the marketing model or the model of the audience as public. A global culture is emerging based on critical viewing skills. Kavoori calls this a reflexive mode born of an increasing familiarity with the narrative conventions of news and an awareness of the institutional imperatives of media industries (Kavoori). Given the sophistication of the emergent global audience, a theory that reduces new media audiences to a set of consumer preferences or behaviours will inevitably prove inadequate, just as it has for understanding audience behavior in old media. Similarly, by ignoring those elements of audience behavior that will be easily transported to the Web, we run the risk of idealising the Internet as a medium that will create an illusory, pre-technological public. Conclusion There is an understandable confusion between the two models of the audience that appear in the examples above. The "new economy" will have to come to terms with sophisticated audiences. Contrary to IBM's claim that they want to "get to know all about you", Internet users do not seem particularly interested in becoming a perpetual source of market information. The fragmented, autonomous audience resists attempts to lock it into proprietary relationships. Internet hypesters talk about creating publics and argue that the Internet recreates the intimacy of community as a corrective to the atomisation and alienation characteristic of mass society. This faith in the power of a medium to create social cohesion recalls the view of the television audience as a public constructed by the common experience of watching an important event. However, MSN's McCartney concert indicates that creating a public from spectacle it is not a simple process. In fact, what the Internet media conglomerates seem to want more than anything is to create consumer bases. Audiences exist for pleasure and by the desire to be entertained. As Internet media institutions are established, the cynical view of the audience as a source of consumer behavior and preferences will inevitably give way, to some extent, to a view of the audience as participant in communication. Audiences will be seen, as they have been by other media, as groups whose attention must be courted and rewarded. Who knows, maybe the AOL/Time-Warner merger might, indeed, signal the new medium's coming of age. References Anderson, Lessley. "To Beam or Not to Beam. MP3.com Is Being Sued by the Major Record Labels. Does the Digital Download Site Stand a Chance?" Industry Standard 31 Jan. 2000. <http://www.thestandard.com>. Ang, Ien. Watching Dallas: Soap Opera and the Melodramatic Imagination. London: Methuen, 1985. Baran, Stanley, and Dennis Davis. Mass Communication Theory: Foundations, Ferment, and Future. 2nd ed. Belmont, Calif.: Wadsworth 2000. Curran, James. "Mass Media and Democracy Revisited." Mass Media and Society. Eds. James Curran and Michael Gurevitch. New York: Hodder Headline Group, 1996. Darlin, Damon. "He Wants Your Eyeballs." Forbes 159 (16 June 1997): 114-6. Egan, Jack, "Pathfinder, Rest in Peace: Time-Warner Pulls the Plug on Site." US News and World Report 126.18 (10 May 1999): 50. Gomery, Douglas. "Making the Web Look like Television (American Online and Microsoft)." American Journalism Review 19 (March 1997): 46. Jones, Steve, ed. CyberSociety: Computer-Mediated Communication and Community. Thousand Oaks: Sage, 1995. Kavoori, Amandam P. "Discursive Texts, Reflexive Audiences: Global Trends in Television News Texts and Audience Reception." Journal of Broadcasting and Electronic Media 43.3 (Summer 1999): 386-98. Krantz, Michael. "Is MSN on the Block?" Time 150 (20 Oct. 1997): 82. Ledbetter, James. "AOL-Time-Warner Make It Big." Industry Standard 11 Jan. 2000. <http://www.thestandard.com>. Lyons, Daniel. "Desparate.com (Media Companies Losing Millions on the Web Turn to Electronic Commerce)." Forbes 163.6 (22 March 1999): 50-1. Manes, Stephen. "The New MSN as Prehistoric TV." New York Times 4 Feb. 1997: C6. McQuail, Denis. Audience Analysis. Thousand Oaks, Calif.: Sage, 1997. ---. Mass Communication Theory. 2nd ed. London: Sage, 1987. Mattelart, Armand. Mapping World Communication: War, Progress, Culture. Trans. Susan Emanuel and James A. Cohen. Minneapolis: U of Minnesota P, 1994. Morris, Merrill, and Christine Ogan. "The Internet as Mass Medium." Journal of Communications 46 (Winter 1996): 39-50. Nightingale, Virginia. Studying Audience: The Shock of the Real. London: Routledge, 1996. Pavlik, John V., and Everette E. Dennis. New Media Technology: Cultural and Commercial Perspectives. 2nd ed. Boston: Allyn and Bacon, 1998. Reid, Calvin. "Time-Warner Seeks Electronic Synergy, Profits on the Web (Pathfinder Site)." Publisher's Weekly 242 (4 Dec. 1995): 12. Rheingold, Howard. Virtual Community: Homesteading on the Electronic Frontier. New York: Harper, 1993. Roscoe, Timothy. "The Construction of the World Wide Web Audience." Media, Culture and Society 21.5 (1999): 673-84. Saap, Geneva, and Ephraim Schwarrtz. "AOL-Time-Warner Deal to Impact Commerce, Content, and Access Markets." Infoworld 11 January 2000. <http://infoworld.com/articles/ic/xml/00/01/11/000111icimpact.xml>. Slater, Joanna. "Cool Customers: Music Channels Hope New Web Sites Tap into Teen Spirit." Far Eastern Economic Review 162.9 (4 March 1999): 50. Trott, Bob. "Microsoft Views AOL-Time-Warner as Confirmation of Its Own Strategy." Infoworld 11 Jan. 2000. <http://infoworld.com/articles/pi/xml/00/01/11/000111pimsaoltw.xml>. Yan, Catherine. "A Major Studio Called AOL?" Business Week 1 Dec. 1997: 1773-4. Citation reference for this article MLA style: Daniel M. Downes. "The Medium Vanishes? The Resurrection of the Mass Audience in the New Media Economy." M/C: A Journal of Media and Culture 3.1 (2000). [your date of access] <http://www.uq.edu.au/mc/0003/mass.php>. Chicago style: Daniel M. Downes, "The Medium Vanishes? The Resurrection of the Mass Audience in the New Media Economy," M/C: A Journal of Media and Culture 3, no. 1 (2000), <http://www.uq.edu.au/mc/0003/mass.php> ([your date of access]). APA style: Daniel M. Downes. (2000) The Medium Vanishes? The Resurrection of the Mass Audience in the New Media Economy. M/C: A Journal of Media and Culture 3(1). <http://www.uq.edu.au/mc/0003/mass.php> ([your date of access]).

IntroductionThis article addresses the experience of designing and conducting life-writing workshops for a group of clients with severe mental illness; the aim of this pilot study was to begin to determine whether such writing about the self can aid in individual ‘recovery’, as that term is understood by contemporary health professionals. A considerable amount has been written about the potential of creative writing in mental health therapy; the authors of this article provide a brief summary of that literature, then of the concept of ‘recovery’ in a psychology and arts therapy context. There follows a first-hand account by one of the authors of being an arts therapy workshop facilitator in the role of a creative practitioner. This occurred in consultation with, and monitored by, experienced mental health professionals. Life-Writing as ‘Therapeutic’ Life-story or life-writing can be understood in this context as involving more than disclosure or oral expression of a subject’s ‘story’ as in psycho-therapy – life-story is understood as a written, structured narrative. In 2001, Wright and Chung published a review of the literature in which they claimed that writing therapy had been “restimulated by the development of narrative approaches” (278). Pennebaker argues that “catharsis or the venting of emotions” without “cognitive processing” has little therapeutic value and people need to “build a coherent narrative that explains some past experience” in order to benefit from writing” (Pennebaker, Telling Stories 10–11). It is claimed in the Clinical Psychology Review that life-writing has the therapeutic benefits of, for example, “striking physical health and behaviour change” (Esterling et al. 84). The reasons are still unclear, but it is possible that the cognitive and linguistic processing of problematic life-events through narrative writing may help the subject assimilate such problems (Alschuler 113–17). As Pennebaker and Seagal argue in the Journal of Clinical Psychology, the life-writing processallows one to organise and remember events in a coherent fashion while integrating thoughts and feelings ... This gives individuals a sense of predictability and control over their lives. Once an experience has structure and meaning, it would follow that the emotional effects of that experience are more manageable. (1243)It would seem reasonable to suggest that life-writing which constructs a positive recovery narrative can have a positive therapeutic effect, providing a sense of agency, connectedness and creativity, in a similar, integrating manner. Humans typically see their lives as stories. Paul Eakin stresses the link between narrative and identity in both this internal life-story and in outwardly constructed autobiography:narrative is not merely a literary form but a mode of phenomenological and cognitive self-experience, while self – the self of autobiographical discourse - does not necessarily precede its constitution in narrative. (Making Selves 100)So both a self-in-time and a socially viable identity may depend on such narrative. The term ‘dysnarrativia’ has been coined to describe the documented inability to construct self-narrative by those suffering amnesia, autism, severe child abuse or brain damage. The lack of ability to achieve narrative construction seems to be correlated with identity disorders (Eakin, Fictions in Autobiography 124). (For an overview of the current literature on creative and life-writing as therapy see Murphy & Neilsen). What is of particular relevance to university creative writing practitioners/teachers is that there is evidence, for example from Harvard psychiatrist Judith Herman and creative writing academic Vicki Linder, that life-narratives are more therapeutically effective if guided to be written according to fundamental ‘effective writing’ aesthetic conventions – such as having a regard to coherent structure in the narrative, the avoidance of cliché, practising the ‘demonstrate don’t state’ dictum, and writing in one’s own voice, for example. Defining ‘Recovery’There remains debate as to the meaning of recovery in the context of mental health service delivery, but there is agreement that recovery entails significantly more than symptom remission or functional improvement (Liberman & Kopelowicz). In a National Consensus Statement, the Substance Abuse and Mental Health Services Administration (SAMHSA) unit of the US Department of Health and Human Services in 2005 described recovery (in general terms) as being achieved by the enabling of a person with a mental illness to live meaningfully in a chosen community, while also attempting to realize individual potential. ‘Recovery’ as a central concept behind rehabilitation can be understood both as objective recovery – that is, in terms of noting a reduction in objective indicators of illness and disability (such as rates of hospital usage or unemployment) and a greater degree of social functioning – and also as subjective recovery. Subjective recovery can be ascertained by listening closely to what clients themselves have said about their own experiences. It has been pointed out (King, Lloyd & Meehan 2) that there is not always a correspondence between objective indicators of recovery and the subjective, lived experience of recovery. The experience of mental illness is not just one of symptoms and disability but equally importantly one of major challenge to sense of self. Equally, recovery from mental illness is experienced not just in terms of symptoms and disability but also as a recovery of sense of self … Recovery of sense of self and recovery with respect to symptoms and disability may not correspond. (King, Lloyd & Meehan; see also Davidson & Strauss)Symptoms of disability can persist, but a person can have a much stronger sense of self or empowerment – that is still recovery. Illness dislocates the sense of self as part of a community and of a self with skills and abilities. Restoring this sense of empowerment is an aim of arts therapy. To put it another way, recovery is a complex process by which a client with a mental illness develops a sense of identity and agency as a citizen, as distinct from identification with illness and disability and passivity as a ‘patient’. The creative arts have gone well beyond being seen as a diversion for the mentally ill. In a comprehensive UK study of creative arts projects for clients with mental illness, Helen Spandler et al. discovered strong evidence that participation in creative activity promoted a sense of purpose and meaning, and assisted in “rediscovering or rebuilding an identity within and beyond that of someone with mental health difficulties” (795). Recovery is aided by people being motivated to achieve self-confidence through mastery and competence; by learning and achieving goals. Clearly this is where arts therapy could be expected or hoped to be effective. The aim of the pilot study was not to measure ‘creativity’, but whether involvement in what is commonly understood as a creative process (life-writing) can have flow-on benefits in terms of the illness of the workshop participant. The psychologists involved, though more familiar with visual arts therapy (reasonably well-established in Australia – in 2006, the ANZAT began publishing the Australian and New Zealand Journal of Art Therapy), thought creative writing could also be valuable. Preparation for and Delivery of the Workshops I was acutely aware that I had no formal training in delivering a program to clients with mental health illness. I was counselled during several meetings with experienced psychologists and a social worker that the participants in the three workshops over two weeks would largely be people who had degrees of difficulty in living independently, and could well have perceptual problems, could misjudge signals from outside and inside the group, and be on medication that could affect their degree of engagement. Some clients could have impaired concentration and cognition, and a deficit in volition. Participants needed to be free to leave and rejoin the workshops during the afternoon sessions. Attendance might well fall as the workshops progressed. Full ethical clearance was attained though the University of Queensland medical faculty (after detailed description of the content and conduct of the proposed workshops) and consent forms prepared for participants. My original workshop ‘kit’ to be distributed to participants underwent some significant changes as I was counselled and prepared for the workshops. The major adjustment to my usual choice of material and approach was made in view of the advice that recounting traumatic events can have a negative effect on some patients – at least in the short term. For the sake of both the individuals and the group as a whole this was to be avoided. I changed my initial emphasis on encouraging participants to recount their traumatic experiences in a cathartic way (as suggested by the narrative psychology literature), to encouraging them to recount positive narratives from their lives – narratives of ‘recovery’ – as I explain in more detail below. I was also counselled that clients with mental health problems might dwell on retelling their story – their case history – rather than reflecting upon it or using their creative and imaginative ability to shape a life-story that was not a catalogue of their medical history. Some participants did demonstrate a desire to retell their medical history or narrative – including a recurring theme of the difficulty in gaining continuity with one trusted medical professional. I gently guided these participants back to fashioning a different and more creative narrative, with elements of scene creation, description and so on, by my first listening intently to and acknowledging their medical narrative for a few minutes and then suggesting we try to move beyond that. This simple strategy was largely successful; several participants commented explicitly that they were tired of having to retell their medical history to each new health professional they encountered in the hospital system, for example. My principal uncertainty was whether I should conduct the workshops at the same level of complexity that I had in the past with groups of university students or community groups. While in both of those cohorts there will often be some participants with mental health issues, for the most part this possibility does not affect the level or kind of content of material discussed in workshops. However, within this pilot group all had been diagnosed with moderate to severe mental illness, mostly schizophrenia, but also bipolar disorder and acute depression and anxiety disorders. The fact that my credentials were only as a published writer and teacher of creative writing, not as a health professional, was also a strong concern to me. But the clients readily accepted me as someone who knew the difficulty of writing well and getting published. I stressed to them that my primary aim was to teach effective creative writing as an end in itself. That it might be beneficial in health terms was secondary. It was a health professional who introduced me and briefly outlined the research aims of the workshop – including some attempt to measure qualitatively any possible benefits. It was my impression that the participants did not have a diminished sense of my usefulness because I was not a health professional. Their focus was on having the opportunity to practice creative writing and/or participate in a creative group activity. As mentioned above, I had prepared a workshop ‘kit’ for the participants of 15 pages. It contained the usual guidelines for effective writing – extracts from professional writers’ published work (including an extract from my own published work – a matter of equity, since they were allowing me to read their work), and a number of writing exercises (using description, concrete and abstract words, narrative point of view, writing in scenes, show don’t tell). The kit contained extracts from memoirs by Hugh Lunn and Bill Bryson, as well as a descriptive passage from Charles Dickens. An extract from Inga Clendinnen’s 2006 account in Agamemnon’s Kiss: selected essays of her positive interaction with fellow cancer patients (a narrative with the underlying theme of recovery) was also valuable for the participants. I stressed to the group that this material was very similar to that used with beginning writers among university students. I described the importance of life-writing as follows: Life-writing is simply telling a story from your life and perhaps musing or commenting on it at the same time. When you write a short account of something chosen from your life, you are making a pattern, using your memory, using your powers of description – you are being creative. You are being a story-teller. And story-telling is one very important thing that makes us humans different from all other animals – and it is a way in which we find a lot of meaning in our lives.My central advice in the kit was: “Just try to be as honest as you can – and to remember as well as you can … being honest and direct is both the best and the easiest way to write memoir”. The only major difference between my approach with these clients and that with a university class was in the selection of possible topics offered. In keeping with the advice of the psychologists who were experts in the theory of ‘recovery’, the topics were predominantly positive, though one or two topics gave the opportunity to recount and/or explore a negative experience if the participant wanted to do so: A time when I was able to help another personA time when I realised what really mattered in lifeA time when I overcame a major difficultyA time when I felt part of a group or teamA time when I knew what I wanted to do with my lifeA time when someone recognised a talent or quality of mineA time I did something that I was proud of A time when I learned something important to meA memorable time when I lived in a certain house or suburbA story that begins: “Looking back, I now understand that …”The group expressed satisfaction with these topics, though they had the usual writing students’ difficulty in choosing the one that best suited them. In the first two workshops we worked our way through the kit; in the third workshop, two weeks later, each participant read their own work to the group and received feedback from their peers and me. The feedback was encouraged to be positive and constructive, and the group spontaneously adopted a positive reinforcement approach, applauding each piece of writing. Workshop DynamicsThe venue for the workshops was a suburban house in the Logan area of Brisbane used as a drop-in centre for those with mental illness, and the majority of the participants would be familiar with it. It had a large, breezy deck on which a round-table configuration of seating was arranged. This veranda-type setting was sheltered enough to enable all to be heard easily and formal enough to emphasise a learning event was taking place; but it was also open enough to encourage a relaxed atmosphere. The week before the first workshop I visited the house to have lunch with a number of the participants. This gave me a sense of some of the participants’ personalities and degree of engagement, the way they related to each other, and in turn enabled them to begin to have some familiarity with me and ask questions. As a novice at working with this kind of client, I found this experience extremely valuable, especially as it suggested that a relatively high degree of communication and cognition would be possible, and it reduced the anxiety I had about pitching the workshops at an appropriate level. In the course of the first workshop, the most initially sceptical workshop participant ended up being the most engaged contributor. A highly intelligent woman, she felt it would be too upsetting to write about negative events, but ultimately wrote a very effective piece about the empowerment she gained from caring for a stray cat and locating the owner. Her narrative also expressed her realisation that the pet was partly a replacement for spending time with her son, who lived interstate. Another strong participant previously had written a book-length narrative of her years of misdiagnoses and trauma in the hospital system before coming under the care of her present health professionals. The participant who had the least literacy skills was accepted by the group as an equal and after a while contributed enthusiastically. Though he refused to sign the consent form at the outset, he asked to do so at the close of the first afternoon. The workshop was comprised of clients from two health provider organisations; at first the two groups tended to speak with those they already knew (as in any such situation in the broader community), but by the third workshop a sense of larger group identity was being manifested in their comments, as they spoke of what ‘the group’ would like in the future – such as their work being published in some form. It was clear that, as in a university setting, part of the beneficial effect of the workshops came from group and face to face interaction. It would be more difficult to have this dimension of benefit achieved via a web-based version of the workshops, though a chat room scenario would presumably go some way towards establishing a group feeling. Web-based delivery would certainly suit participants who lacked mobility or who lived in the regions. Clearly the Internet is a vital social networking tool, and an Internet-based version of the workshops could well be attempted in the future. My own previous experience of community digital storytelling workshops (Neilsen, Digital Storytelling as Life-writing) suggests that a high degree of technical proficiency can not be expected across such a cohort; but with adequate technical support, a program (the usual short, self-written script, recorded voice-over and still images scanned from the participants’ photo albums, etc) could make digital storytelling a further dimension of therapeutic life-writing for clients with mental illness. One of the most useful teaching techniques in a class room setting is the judicious use of humour – to create a sense of sharing a perspective, and simply to make material more entertaining. I tested the waters at the outset by referring to the mental health worker sitting in the background, and declaring (with some comic exaggeration) my concern that if I didn’t run the workshop well he would report adversely on me. There was general laughter and this expression of my vulnerability seemed to defuse anxiety on the part of some participants. As the workshop progressed I found I could use both humorous extracts of life-writing and ad hoc comic comments (never at the expense of a participant) as freely as in a university class. Participants made some droll comments in the overall context of encouraging one another in their contributions, both oral and written. Only one participant exhibited some temporary distress during one of the workshops. I was allowing another participant the freedom to digress from the main topic and the participant beside me displayed agitation and sharply demanded we get back to the point. I apologised and acknowledged I had not stayed as focused as I should and returned to the topic. I suspect I had a fortunate first experience of such arts therapy workshops – and that this was largely due to the voluntary nature of the study and that most of the participants brought a prior positive experience of the workshop scenario, and prior interest in creative writing, to the workshops. Outcomes A significantly positive outcome was that only one of the nine participants missed a session (through ill-health) and none left during workshops. The workshops tended to proceed longer than the three hours allotted on each occasion. Post-workshop interviews were conducted by a psychologist with the participants. Detailed data is not available yet – but there was a clear indication by almost all participants that they felt the workshops were beneficial and that they would like to participate in further workshops. All but one agreed to have their life-writing included in a newsletter produced by one of the sponsors of the workshops. The positive reception of the workshops by the participants has encouraged planning to be undertaken for a wide-ranging longitudinal study by means of a significant number of workshops in both life-writing and visual arts in more than one city, conducted by a team of health professionals and creative practitioners – this time with sophisticated measurement instruments to gauge the effectiveness of art therapy in aiding ‘recovery’. Small as the workshop group was, the pilot study seems to validate previous research in the UK and US as we have summarised above. The indications are that significant elements of recovery (in particular, feelings of enhanced agency and creativity), can be achieved by life-writing workshops that are guided by creative practitioners; and that it is the process of narrative construction within life-writing that engages with or enhances a sense of self and identity. NoteWe are indebted, in making the summary of the concept of ‘recovery’ in health science terms, to work in progress by the following research team: Robert King, Tom O'Brien and Claire Edwards (School of Medicine, University of Queensland), Margot Schofield and Patricia Fenner (School of Public Health, Latrobe University). We are also grateful for the generous assistance of both this group and Seiji Humphries from the Richmond Queensland Fellowship, in providing preparation for the workshops. ReferencesAlschuler, Mari. “Lifestories – Biography and Autobiography as Healing Tools for Adults with Mental Illness.” Journal of Poetry Therapy 11.2 (1997): 113–17.Davidson, Larry and John Strauss. “Sense of Self in Recovery from Severe Mental Illness.” British Journal of Medical Psychology 65 (1992): 31–45.Eakin, Paul. Fictions in Autobiography: Studies of the Art of Self-Invention. Princeton: Princeton UP, 1985.———. How Our Lives Become Stories: Making Selves. Ithaca: Cornell UP, 1999.Esterling, B.A., L. L’Abate., E.J. Murray, and J.W. Pennebaker. “Empirical Foundations for Writing in Prevention and Psychotherapy: Mental and Physical Health Outcomes.” Clinical Psychology Review 19.1 (1999): 79–96.Herman, Judith. Trauma and Recovery: The Aftermath of Violence - from Domestic Abuse to Political Terror. New York: Basic Books, 1992.King, Robert, Chris Lloyd, and Tom Meehan. Handbook of Psychosocial Rehabilitation. Oxford: Blackwell Publishing, 2007.Liberman, Robert, and Alex Kopelowicz. “Recovery from Schizophrenia: A Criterion-Based Definition.” In Ralph, R., and P. Corrigan (eds). Recovery in Mental Illness: Broadening Our Understanding of Wellness. Washington, DC: APA, 2005.Linder, Vicki. “The Tale of two Bethanies: Trauma in the Creative Writing Classroom.” New Writing: The International Journal for the Practice and Theory of Creative Writing 1.1 (2004): 6–14Murphy, Ffion, and Philip Neilsen. “Recuperating Writers – and Writing: The Potential of Writing Therapy.” TEXT 12.1 (Apr. 2008). ‹http://www.textjournal.com.au/april08/murphy_neilsen.htm›.Neilsen, Philip. “Digital Storytelling as Life-Writing: Self-Construction, Therapeutic Effect, Textual Analysis Leading to an Enabling ‘Aesthetic’ for the Community Voice.” ‹http://www.speculation2005.qut.edu.au/papers/Neilsen.pdf›.Pennebaker, James W., and Janel D. Seagal. “Forming a Story: The Health Benefits of Narrative.” Journal of Clinical Psychology, 55.10 (1999): 1243–54.Pennebaker, James W. “Telling Stories: The Health Benefits of Narrative.” Literature and Medicine 19.1 (2000): 3–18.Spandler, H., J. Secker, L. Kent, S. Hacking, and J. Shenton. “Catching Life: The Contribution of Arts Initiatives to ‘Recovery’ Approaches in Mental Health.” Journal of Psychiatric and Mental Health Nursing 14.8 (2007): 791–799.Wright, Jeannie, and Man Cheung Chung. “Mastery or Mystery? Therapeutic Writing: A Review of the Literature.” British Journal of Guidance and Counselling, 29.3 (2001): 277–91.