Добірка наукової літератури з теми "Trace elements, VFAs, pure culture"

Objective: The present study was undertaken to investigate the effect of biochemical sources viz., growth regulators and trace elements on the vegetative growth of Pleurotus sapidus Quél. It has a great commercial potential being an edible and wood decaying fungus. Mushrooms need carbon and nitrogen for structural and functional purposes in addition to trace elements, growth regulators and vitamins. Therefore, evaluation of their role in influencing the growth of the mushroom is a necessary aspect to be studied.Methods: Fresh sporocarps of P. sapidus were collected from rotten stumps of Grevillea robusta A. Cunn. ex R. Br and its pure culture was raised on Potato Dextrose Agar medium. The malt broth liquid medium at 28±1 °C was used as a basal medium for investigating the role of growth regulators (gibberellic acid, indole-3-acetic acid, indole-3-butyric acid and kinetin) and trace elements (manganese, iron, molybdenum, boron and zinc). Different concentrations of growth regulators and salts with trace elements were added to separate medium flask to compare the growth.Results: The comparative study of various concentrations of growth regulators and trace elements has shown that the cultures supplemented with 5 ppm gibberellic acid and 5 ppm boron, respectively gave maximum mycelial growth of P. sapidus.Conclusion: The vegetative growth of P. sapidus can be enhanced by adding gibberellic acid and boron in the basal medium.

Objective. Study the influence of various concentrations of germanium, molybdenum, vanadium, cobalt, iron, copper and zinc on the growth dynamics of rhizobia, to select the most effective ones for studying their role as components of the digest medium in growing rhizobia and optimizing the formation and functioning of symbiotic soybean – Bradyrhizobium japonicum systems. Methods. Microbiological, physiological, spectrophotometry, gas chromatography. Results. It was found that the addition of most of the studied trace elements to the rhizobia growth medium had a positive effect on the growth dynamics of the bacterial culture. The exception was zinc nanocarboxylate, the introduction of which in the digest medium significantly reduced the growth of biomass bacteria. At the same time, irrespective of concentration, the most stimulating effect on the dynamics of growth of rhizobia in a pure culture was typical for the nanocarboxylates of iron, germanium and molybdenum. Their maximum action was developed at a concentration of 1:1000. These compounds are promising when adding rhizobia cultivating medium and studying their effect on the processes of forming and functioning of legume-rhizobial symbiotic systems. Analysis of the results of vegetation experiments showed that the use of iron, germanium and molybdenum nanocarboxylates as components of the rice growing medium at a concentration of 1:1000 positively influenced the processes of formation and functioning of symbiotic systems formed with the participation of various Bradyrhizobium japonicum strains – 634b and 604k, as well as on the growth of the vegetative mass of soybean plants. In this case, the most effective was germanium nanocarboxylate. Conclusion. The promising use of the active strain Bradyrhizobium japonicum 634b in combination with germanium nanocarboxylate in soybean cultivation has been experimentally proven to enhance the effectiveness of symbiotic systems.

The results of studies of scientifically grounded use of microelements in sweet pepper crops, as an important factor in increasing the yield of vegetable crops and improving the quality of products, are presented. The purpose of our research was to substantiate the influence of the use of trace elements in the technology of sweet pepper cultivation on the growth and development of plants, the productivity and quality of the products of this culture. The experimental part of the work was carried out in 2014-2019 in the subzone of light chestnut soils of the Volgograd region. Experiments on the study of trace elements were carried out by pre-sowing seed treatment and foliar feeding of plants. Chemically pure compounds of manganese sulfate, zinc sulfate, copper sulfate, ammonium molybdate, boric acid were used as microelements. The use of trace elements in the dry-steppe zone of the Lower Volga region is an important agricultural technique that helps to accelerate growth, development, increase productivity and improve the quality of pepper fruits. It is recommended to carry out pre-sowing treatment of seeds with solutions of boric acid (0.29 g / 1 l of water), copper sulfate (0.20 g / 1 l of water) and manganese sulfate (0.16 g / 1 l of water) (the ratio of the weight of seeds to the solution 1: 2) as a way to increase seed vitality, speed up yield and improve seedling quality. In order to increase the yield and improve the quality during the budding period of peppers, it is necessary to carry out foliar dressing, first of all, with solutions of boric acid (0.29 g / 1 l of water), ammonium molybdenum (0.10 g / 1 l of water), water consumption 1 l / 10 m2. Due to its high efficiency, simplicity and availability, pre-sowing seed treatment and foliar feeding of plants with microelements will find wide application in vegetable growing.

Abstract. The incorporation of heavy metals into carbonate tests of the shallow water benthic foraminifer Ammonia tepida was investigated under controlled laboratory conditions. Temperature, salinity, and pH of the culture solutions were kept constant throughout the duration of this experiment, while trace metal concentrations were varied. Concentrations of Ni, Cu, and Mn were set 5-, 10-, and 20 times higher than levels found in natural North Sea water; for reference, a control experiment with pure filtered natural North Sea water was also analysed. The concentrations of Cu and Ni from newly grown chambers were determined by means of both μ-synchrotron XRF and Laser Ablation Inductively Coupled Plasma Mass Spectroscopy (LA-ICP-MS). The results of both independent analytical techniques agreed within the analytical uncertainty. In general, the concentration of the analysed elements in the tests increased in line with their concentration in the culture solutions. Potential toxic and/or chemical competition effects might have resulted in the decreased incorporation of Ni and Cu into the calcite of the specimens exposed to the highest elemental concentrations. Mn incorporation exhibited large variability in the experiment with the 20-fold increased element concentrations, potentially due to antagonistic effects with Cu. The partition coefficients of Cu and Ni were calculated to be 0.14 ± 0.02 and 1.0 ± 0.5, respectively, whereas the partition coefficient of Mn was estimated to be least 2.4. These partition coefficients now open the way for reconstructing past concentrations for these elements in sea water.

Iron is one of the trace elements required by human body, and its deficiency can lead to abnormal bone metabolism. In this study, the effect of iron ions on the properties of tricalcium silicate bone cement (Fe/C3Ss) was investigated. It effectively solved the problems of high pH value and low biological activity of calcium silicate bone cement. The mechanical properties, in vitro mineralization ability and biocompatibility of the materials were systematically characterized. The results indicate that tricalcium silicate bone cement containing 5 mol% iron displayed good self-setting ability, mechanical properties and biodegradation performance in vitro. Compared with pure calcium silicate bone cement (C3Ss), Fe/C3Ss showed lower pH value (8.80) and higher porosity (45%), which was suitable for subsequent cell growth. Immersion test in vitro also confirmed its good ability to induce hydroxyapatite formation. Furthermore, cell culture experiments performed with Fe/C3Ss ion extracts clearly stated that the material had excellent cell proliferation abilities compared to C3Ss and low toxicity. The findings reveal that iron-doped tricalcium silicate bone cement is a promising bioactive material in bone repair applications.

Aesthetic preferences of contemporary art connoisseurs can hardly be called uniform. In view of this, today, heterogeneity, designed for a wide audience, is increasingly becoming a common technique. However, a question arises as to the reasons for the popularity of such eclecticism and ambiguity in the formation of an artistic image. The article is an attempt to scientific understanding of the formation and development of perception of images that differ in containing two or more strongly pronounced equivalent origins, which may exist with each other in contrast or be antagonistic. A specific character of understanding the meaning of heterogeneous images is rooted in the biological characteristics of human thinking and is directly dependent on the process of perception. The complexity of the polymorphic image lies in the impossibility of its unambiguous perception and identification. The aesthetic conflict is caused by the impossibility of correlating the image obtained in the process of perception with the norm, as well as the difficulty of checking the information presented in practice. This is a fair pattern: as perception influenced culture, so did culture affect perception. The nature of heterogeneity is explained by getting deep into the features of a primitive man’s worldview and is expressed in myth-making, which, by virtue of a certain instinct, creates a pure image. The images formed at the early stages develop on the border of the antagonistic categories of the sublime and the base, the beautiful and the ugly, which makes them extremely contradictory. However, they exist in consciousness as long as these discrepancies are noticed by a man, but are perceived naturally. Subsequently, heterogeneity begins to acquire a comic character, is used as an allegory, and through the use of the method of deformation becomes a powerful spokesman for the human essence. Modern perception of heterogeneity can be represented in two manifestations. On the one hand, a tendency has developed to harmoniously merge the heterogeneous into a single system. A clear definition of the boundaries of the elements made it possible later on to come to the collage art, able to synthesize even the most contradictory things. On the other hand, the fragmentation of an already holistic image was used in order to give it heterogeneity. These transformations have found the most vivid embodiment in painting, literature, cinematographic art. The creation of a heterogeneous image in contemporary art allows us to trace the change in the perception by society of the phenomenon of hybridity, its mood to accept such changes and openness to heterogeneity. Indeed, for the modern viewer, the aestheticization of heterogeneity becomes quite expected, is not filled with satire, loses ugliness. It gives hope for the attainment of happiness and power, which forms the basis for the increasing popularity of polymorphic images.

Abstract Background Polyether-ether-ketone (PEEK) is increasingly being used for spinal applications. However, because of its biologically inactive nature, there are risks of false joint loosening and sinking. PEEK materials are coated with apatite to enhance the osteoconductive properties. In this study, we aimed to evaluate whether strontium apatite stimulate osteogenesis on the surface of PEEK by using the CO2 laser technique. Methods We prepared non-coated disks, laser-exposed disks without apatite, and four types of apatite-coated by laser PEEK disks (hydroxyapatite (HAP), strontium hydroxyapatite (SrHAP), silicate-substituted strontium apatite (SrSiP), and silicate-zinc-substituted strontium apatite (SrZnSiP)). A part of the study objective was testing various types of apatite coatings. Bone marrow mesenchymal cells (BMSCs) of rats were seeded at a density of 2 × 104/cm2 onto each apatite-coated, non-coated, and laser-irradiated PEEK disks. The disks were then placed in osteogenic medium, and alkaline phosphatase (ALP) staining and Alizarin red staining of BMSCs grown on PEEK disks were performed after 14 days of culture. The concentrations of osteocalcin (OC) and calcium in the culture medium were measured on days 8 and 14 of cell culture. Furthermore, mRNA expression of osteocalcin, ALP, runt-related transcription factor 2 (Runx2), collagen type 1a1 (Col1a1), and collagen type 4a1 (Col4a1) was evaluated by qPCR. Results The staining for ALP and Alizarin red S was more strongly positive on the apatite-coated PEEK disks compared to that on non-coated or laser-exposed without coating PEEK disks. The concentration of osteocalcin secreted into the medium was also significantly higher in case of the SrHAP, SrSiP, and SrZnSiP disks than that in the case of the non-coated on day14. The calcium concentration in the PEEK disk was significantly lower in all apatite-coated disks than that in the pure PEEK disks on day 14. In qPCR, OC and ALP mRNA expression was significantly higher in the SrZnSiP disks than that in the pure PEEK disks. Conclusions Our findings demonstrate that laser bonding of apatite—along with trace elements—on the PEEK disk surfaces might provide the material with surface property that enable better osteogenesis.

Anthony Giddens and a number of other social theorists and commentators see reflexivity as the guiding principle of modern self-identity (Giddens 1992; Beck). According to this thesis, reflexivity brings, at least potentially, a new level of knowledgeability, control and orderliness to one's experience of self. It ushers in a demystified world, geared towards calculability. In Giddens' own words, "....reflexivity refers to a world increasingly constituted by information rather than pre-modern modes of conduct. It is how we live after the retreat of tradition and nature, because of having to take so many forward-orientated decisions" (Giddens & Pierson 115). Reflexivity involves "the routine incorporation of new knowledge or information into environments of action that are thereby reconstituted or reorganised" (Giddens 1991 243). Life is characterised by planning and goal-orientation. In Giddens' terminology it is a "project", involving "the strategic adoption of lifestyle options, organised in terms of the individual's projected lifespan" (1991 243). The future is "colonised", knowledge is "reappropriated", and the self is a "trajectory". Relationships are increasingly transparent and democratic, always open to negotiation. These sentiments are repeated often, and lie at the heart of neo-liberal analyses of the contemporary self. While such accounts undoubtedly reflect certain aspects of self-identity in the modern world, it also neglects many areas of experience relevant to the contemporary self - tradition, culture and concepts of fate, the unconscious and emotions - for example, and our experience of our own self is far less clear-cut than Giddens and others suggest. Selfhood as a vehicle for grasping the world in relation to itself is experienced far more ambiguously, during both the more mundane passages of daily life, and in the more "fateful moments" of one's life. It is characterised as much by a lack of definition and precision as it is by a calculable boundary and trajectory. Giddens & the Reflexive Self Giddens ends up with a rationalist caricature of the processes that make up self-identity. His comments on the formation of values, reproduced here, are a case in point: It wouldn't be true to say we have values that are separate from the increasingly reflexive nature of the world - values are directly involved in it, because we live in a world where we have to decide what values to hold, as individuals, and in a democracy, collectively - essentially through reflexive discourse. In more traditional cultures those values are more given (Giddens & Pierson 219). Are the values we hold really the result of nothing more than rational "decisions"? Most people, if asked, would probably have only a vague idea about the origins of their values. One would be mistaken in attempting to trace them back to a purely rational decision making process. It is certainly hard to conceive of values, and maintain a meaningful sense of the word, if they are reduced to the result of "reflexive discourse" alone. This picture of the world is again far too tidy. People do not go through life choosing from and storing a range of values which they then apply methodically to their understanding of the world. What we value is bound up with all the factors I have just mentioned - culture, emotion and so on. In the same way, self-identity can no more easily be reduced to a number of options from which we choose objectively and transparently. This is apparent in a number of interrelated factors which impinge upon self-identity, largely overlooked in the championing of choice, self-disclosure and reflexivity. How we experience ourselves, how we want to see ourselves and others to see us - all the things that constitute self-identity - is open to contradiction. Giddens too easily constructs the reflexive self as a functional whole, all units - reflexivity, practical consciousness and the unconscious - working for the overall benefit of the self. Such a view of selfhood is easily complicated. I want to argue that most individuals are defined as much by the conflict of intentions, or by their actions contradicting their intentions. People are often unsure of what they want to happen - of their 'trajectory' - except when they indulge in fantasy. How one experiences one's self changes from day to day, moment to moment. A clear understanding of the self as a "reflexive narrative" is, in this context, a rare event. Individuals may be capable of reflexivity, but it is against a wider backdrop of ambiguity. In a recent analysis Giddens draws from a contemporary work of fiction to illustrate the exhaustive application of reflexivity in everyday life. The novel, Nicholas Baker's The Mezzanine, "deals with no more than a few moments in the day of a person who actively reflects, in detail, upon the minutiae of his life's surroundings and his reactions to them" (Giddens 1994a 60). Giddens goes on to quote a lengthy description, in which Baker's character reflects on an ice-cube tray he has just picked up. The extensive consideration of the changes in ice-cube trays and a detailed understanding of them represents, for Giddens, "profound processes of the reformation of daily life" (1994a 60). Everything is opened up to inspection, from a post-traditional vantage point. Even the more mundane elements of life are part of a series of "everyday experiments", in which the outcomes are no longer certain. In Giddens's analysis, "we are all in a sense, self-pioneers" (Tucker 206). Alternative Fictions Fictional accounts of selfhood, and the self's relation to others and the outside world, are likely to be pretty reflexive affairs. "Narratives of the self" are in fictional accounts, a prime concern. It may not always be helpful to draw upon fictional accounts to suggest the reflexivity of the modern world. This problem aside, fictional accounts can also be used to problematise the notion of reflexivity, and suggest a more ambiguous selfhood. In Tim Lott's recent novel, White City Blue he documents such an understanding throughout. Take this description of the development of the main character's relationship with his future wife: Not so long ago, me and Veronica would only see each other at weekends - that's Friday, Saturday and Sunday night - and on other night in the week; a ratio of freedom to commitment of 3:4. That's reasonable I think.... But as the marriage approaches, the F:C ratio is slipping badly. She's round here most nights now, and the ratio is moving towards more like 2:5 or even 1:6. I don't mind, I suppose. Processes like these aren't really stoppable anyway. It's organic, inevitable. Nobody decides, nobody really wants it to happen. But it happens anyway. I go out with my mates a few nights a week, she goes out with hers, but somehow or other, without any particular arrangement having been made, we both usually end up here (34-35; my emphasis). In this example, albeit fictional, the protagonist, far from reflexively understanding the passage of his life, only has a vague grasp of the cause of events. Reflexivity is only apparent in the retrospective illustration of those events for the reader. The fictional account of modern selfhood documented above is mirrored in a recent critique of Giddens's definition of reflexivity by Nicos Mouzelis, summarised in the following extract: the reflexive individuals' relation to their inner and outer worlds is conceptualised in ultra-activistic, instrumental terms: subjects are portrayed as constantly involved in means-ends situations, constantly trying reflexively and rationally to choose their broad goals as well as the means of their realisation; they are also constantly monitoring or revising their projects in the light of new information and of the already achieved results (85). Mouzelis does not suggest that the concept of reflexivity itself be abandoned. Instead he argues that Giddens's version of reflexive awareness is "culture-specific, or more precisely, western-specific". He argues that reflexivity needs to be re-conceptualised, to overcome Giddens's "over-activistic" tendencies, and accommodate other ways of being reflexive. Mouzelis signifies what alternative reflexivities might look like when he suggests what is missing from Giddens's concept. Giddens's understanding, he argues, "entails a type of reflexivity that excludes more contemplative, more 'easy-going', less cognitive ways of navigating reflexively in a world full of choices and individual challenges" (85). Mouzelis seeks an alternative formulation of reflexivity, which challenges Giddens's activistic version: Is it perhaps possible to resort to [a] reflexive attitude that does not seek (via rational choices) actively to construct life orientations, but rather allows in indirect, passive manner life orientations and other broad goals to emerge .... a kind of existence where instead of actively and instrumentally trying to master the complexity of growing choices, one chooses (to use Pierre-August Renoir's expression) to float as a cork in the ocean of post-traditional reality? (85-86). The main character in White City Blue would probably agree. An 'easy-going' attitude towards one's beliefs is displayed in this dialogue from the same novel: You were going to say that friends are the most important thing in life. I suppose so. I'm not sure. I suppose so. I don't know that I believe it though. Why would you say it if you didn't believe it? A good question. But isn't it what everyone does? You don't have to believe what you say. How are you meant to know what you believe? Sometimes - most of the time you just have to guess. You have to say something, after all. I don't know. Sometimes you just pick up opinions. Like fluff on your jacket. Uh-huh. And you don't always know where you picked up the fluff. But there it is all the same. In this extract the main character is disclaiming reflexive capabilities. The comparison between the fictional world evoked here and that in Giddens' example suggest two different views of modern self-identity. Reflexivity, as commonly understood in contemporary accounts, does not and cannot embrace the whole range of experiences which make up self-identity in each concrete moment, particularly the rationally ambiguous nature of everyday life, indicated here. There is more to self-experience than rational understanding – "no matter how skilled and knowledgeable the agent, miscommunication can arise because of emotional, cultural and other non-cognitive factors that are part of the process of communicating through language" (Mestrovic 46). As with communication with others, so with self-consciousness - communication with the self, and, as Halton suggests: "being human involves feeling, dreaming, experiencing, remembering and forgetting, and not simply knowing" (Halton 273). These other elements of experience contextualise reflexive awareness, and ground its transformative capabilities in the need to acknowledge the complexities of self-identity. Contemporary self-identity is characterised as much by a lack of definition and precision as it is by a calculable boundary and trajectory. It may, then, be possible to think of alternative ways of constructing identity which rely less upon rational-cognitive models of self-awareness. Alternative Selves The anti-religious philosophy of Krishnamurti is one example of an alternative formulation of self-identity incorporating a form of reflexivity (Mouzelis, Krishnamurti 1970). Krishnamurti"s texts demand that individuals give up on almost all forms of rational thinking in ordering their existence meaningfully. Furthermore: "Beliefs, divine revelations, sacred texts, as well as rationalistically derived moral codes, are not only quite irrelevant in the search for a spiritual, meaningful existence today, but they actually constitute serious obstacles to such a search" (Mouzelis 88). Krishnamurti"s belief is that genuine self-awareness comes about only when rationalised schemes and projects for the self are abandoned; "when ratiocination, planning and cognitively constructed means-end schemata are peripheralised" (Mouzelis 88). He argues "the fundamental understanding of oneself does not come through knowledge or through the cultivation of experiences" (Krishnamurti, 1970 25). To exist authentically, one has to explore one"s own self through "silent and continuous gazing inwards" (Mouzelis 89). From this state, "a tranquility that is not a product of the mind, a tranquility that is neither imagined nor cultivated" is possible (Krishnamurti 1970 28). Adorno is similarly critical of dominant formulations of emancipation, which, he argues, focus upon "the conception of unfettered activity, of uninterrupted procreation, chubby insatiability, of freedom as frantic bustle". (156). He imagines a world where "lying on water and looking peacefully at the sky, being, nothing else, without any further definition and fulfilment, might take the place of process, act, satisfaction" (157). I have not sought to explore Krishnamurti"s perspective in any detail here, nor indeed Adorno"s, Halton"s Mouzelis"s, or many other peripheral accounts of self, only indicates that alternative formulations of reflexivity are possible, where goal-oriented thought processes take a back seat to a more contemplative and tranquil awareness of self. In pursuing these alternatives, a more complex and representative understanding of reflexivity and self-identity may be generated. At the same time, alternative discourses may further illustrate and problematise the one-sidedness of neo-liberal accounts of the reflexive self. References Adorno, T. Minima Moralia. London: Verso, 1974. Baker, N. The Mezzanine. London: Harper Collins, 1990. Giddens, A. The Consequences of Modernity. Cambridge: Polity Press, 1990. ---. Modernity and Self-Identity: Self and Society in the Late Modern Age. Cambridge: Polity Press, 1991. ---. The Transformation of Intimacy. Cambridge: Polity Press, 1992. ---. "Living in a Post-Traditional Society". U. Beck, A. Giddens and S. Lash, Reflexive Modernization 1994. Cambridge: Polity Press, 1994. Giddens, A & C. Pierson. Conversations with Anthony Giddens: Making Sense of Modernity. Cambridge: Polity Press, 1998. Halton, E "The Modern Error: Or, the Unbearable Enlightenment of Being". Featherstone, Lash & Robertson (eds.) Global Modernities. Sage: London, 1995. Krishnamurti. The Krishnamurti Reader. London: Arkana, 1970. ---. The Impossible Question. London: Penguin, 1978. Lott, T. White City Blue. London: Penguin, 1999. Mestrovic, S.G. Anthony Giddens: The Last Modernist. London: Routledge, 1998. Mouzelis, N. "Exploring post-traditional orders: Individual Reflexivity, 'pure relations' and duality of structure". O'Brien, Penna & Hay (eds.) (1999) Theorising Modernity. London: Longman. Tucker, K.H. Anthony Giddens and Modern Social Theory. London: Sage, 1998. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Adams, Matthew. "Ambiguity" M/C: A Journal of Media and Culture 5.5 (2002). [your date of access] < http://www.media-culture.org.au/mc/0210/Adams.html &gt. Chicago Style Adams, Matthew, "Ambiguity" M/C: A Journal of Media and Culture 5, no. 5 (2002), < http://www.media-culture.org.au/mc/0210/Adams.php> ([your date of access]). APA Style Adams, Matthew. (2002) Ambiguity. M/C: A Journal of Media and Culture 5(5). < http://www.media-culture.org.au/mc/0210/Adams.php> ([your date of access]).

From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elephants have a learnt culture, then it is possible to extend a definition of printing beyond Homo sapiens. Poole reports that elephants mechanically trumpet reproductions of human car horns into the air surrounding their society. If nothing else, this cross-species, cross-cultural reproduction, this ‘ability to mimic’ is ‘another sign of their intelligence’. Observation of child development suggests that the first significant meaningful ‘impression’ made on the human mind is that of the face of the child’s nurturer – usually its mother. The baby’s mind forms an ‘impression’, a mental print, a reproducible memory data set, of the nurturer’s face, voice, smell, touch, etc. That face is itself a cultural construct: hair style, makeup, piercings, tattoos, ornaments, nutrition-influenced skin and smell, perfume, temperature and voice. A mentally reproducible pattern of a unique face is formed in the mind, and we use that pattern to distinguish ‘familiar and strange’ in our expanding social orbit. The social relations of patterned memory – of imprinting – determine the extent to which we explore our world (armed with research aids such as text print) or whether we turn to violence or self-harm (Bretherton). While our cultural artifacts (such as vellum maps or networked voice message servers) bravely extend our significant patterns into the social world and the traversed environment, it is useful to remember that such artifacts, including print, are themselves understood by our original pattern-reproduction and impression system – the human mind, developed in childhood. The ‘print’ is brought to mind differently in different discourses. For a reader, a ‘print’ is a book, a memo or a broadsheet, whether it is the Indian Buddhist Sanskrit texts ordered to be printed in 593 AD by the Chinese emperor Sui Wen-ti (Silk Road) or the US Defense Department memo authorizing lower ranks to torture the prisoners taken by the Bush administration (Sanchez, cited in ABC). Other fields see prints differently. For a musician, a ‘print’ may be the sheet music which spread classical and popular music around the world; it may be a ‘record’ (as in a ‘recording’ session), where sound is impressed to wax, vinyl, charged silicon particles, or the alloys (Smith, “Elpida”) of an mp3 file. For the fine artist, a ‘print’ may be any mechanically reproduced two-dimensional (or embossed) impression of a significant image in media from paper to metal, textile to ceramics. ‘Print’ embraces the Japanese Ukiyo-e colour prints of Utamaro, the company logos that wink from credit card holographs, the early photographs of Talbot, and the textured patterns printed into neolithic ceramics. Computer hardware engineers print computational circuits. Homicide detectives investigate both sweaty finger prints and the repeated, mechanical gaits of suspects, which are imprinted into the earthy medium of a crime scene. For film makers, the ‘print’ may refer to a photochemical polyester reproduction of a motion picture artifact (the reel of ‘celluloid’), or a DVD laser disc impression of the same film. Textualist discourse has borrowed the word ‘print’ to mean ‘text’, so ‘print’ may also refer to the text elements within the vision track of a motion picture: the film’s opening titles, or texts photographed inside the motion picture story such as the sword-cut ‘Z’ in Zorro (Niblo). Before the invention of writing, the main mechanically reproduced impression of a cultural symbol in a medium was the humble footprint in the sand. The footprints of tribes – and neighbouring animals – cut tracks in the vegetation and the soil. Printed tracks led towards food, water, shelter, enemies and friends. Having learnt to pattern certain faces into their mental world, children grew older and were educated in the footprints of family and clan, enemies and food. The continuous impression of significant foot traffic in the medium of the earth produced the lines between significant nodes of prewriting and pre-wheeled cultures. These tracks were married to audio tracks, such as the song lines of the Australian Aborigines, or the ballads of tramping culture everywhere. A typical tramping song has the line, ‘There’s a track winding back to an old-fashion shack along the road to Gundagai,’ (O’Hagan), although this colonial-style song was actually written for radio and became an international hit on the airwaves, rather than the tramping trails. The printed tracks impressed by these cultural flows are highly contested and diverse, and their foot prints are woven into our very language. The names for printed tracks have entered our shared memory from the intersection of many cultures: ‘Track’ is a Germanic word entering English usage comparatively late (1470) and now used mainly in audio visual cultural reproduction, as in ‘soundtrack’. ‘Trek’ is a Dutch word for ‘track’ now used mainly by ecotourists and science fiction fans. ‘Learn’ is a Proto-Indo-European word: the verb ‘learn’ originally meant ‘to find a track’ back in the days when ‘learn’ had a noun form which meant ‘the sole of the foot’. ‘Tract’ and ‘trace’ are Latin words entering English print usage before 1374 and now used mainly in religious, and electronic surveillance, cultural reproduction. ‘Trench’ in 1386 was a French path cut through a forest. ‘Sagacity’ in English print in 1548 was originally the ability to track or hunt, in Proto-Indo-European cultures. ‘Career’ (in English before 1534) was the print made by chariots in ancient Rome. ‘Sleuth’ (1200) was a Norse noun for a track. ‘Investigation’ (1436) was Latin for studying a footprint (Harper). The arrival of symbolic writing scratched on caves, hearth stones, and trees (the original meaning of ‘book’ is tree), brought extremely limited text education close to home. Then, with baked clay tablets, incised boards, slate, bamboo, tortoise shell, cast metal, bark cloth, textiles, vellum, and – later – paper, a portability came to text that allowed any culture to venture away from known ‘foot’ paths with a reduction in the risk of becoming lost and perishing. So began the world of maps, memos, bills of sale, philosophic treatises and epic mythologies. Some of this was printed, such as the mechanical reproduction of coins, but the fine handwriting required of long, extended, portable texts could not be printed until the invention of paper in China about 2000 years ago. Compared to lithic architecture and genes, portable text is a fragile medium, and little survives from the millennia of its innovators. The printing of large non-text designs onto bark-paper and textiles began in neolithic times, but Sui Wen-ti’s imperial memo of 593 AD gives us the earliest written date for printed books, although we can assume they had been published for many years previously. The printed book was a combination of Indian philosophic thought, wood carving, ink chemistry and Chinese paper. The earliest surviving fragment of paper-print technology is ‘Mantras of the Dharani Sutra’, a Buddhist scripture written in the Sanskrit language of the Indian subcontinent, unearthed at an early Tang Dynasty site in Xian, China – making the fragment a veteran piece of printing, in the sense that Sanskrit books had been in print for at least a century by the early Tang Dynasty (Chinese Graphic Arts Net). At first, paper books were printed with page-size carved wooden boards. Five hundred years later, Pi Sheng (c.1041) baked individual reusable ceramic characters in a fire and invented the durable moveable type of modern printing (Silk Road 2000). Abandoning carved wooden tablets, the ‘digitizing’ of Chinese moveable type sped up the production of printed texts. In turn, Pi Sheng’s flexible, rapid, sustainable printing process expanded the political-cultural impact of the literati in Asian society. Digitized block text on paper produced a bureaucratic, literate elite so powerful in Asia that Louis XVI of France copied China’s print-based Confucian system of political authority for his own empire, and so began the rise of the examined public university systems, and the civil service systems, of most European states (Watson, Visions). By reason of its durability, its rapid mechanical reproduction, its culturally agreed signs, literate readership, revered authorship, shared ideology, and distributed portability, a ‘print’ can be a powerful cultural network which builds and expands empires. But print also attacks and destroys empires. A case in point is the Spanish conquest of Aztec America: The Aztecs had immense libraries of American literature on bark-cloth scrolls, a technology which predated paper. These libraries were wiped out by the invading Spanish, who carried a different book before them (Ewins). In the industrial age, the printing press and the gun were seen as the weapons of rebellions everywhere. In 1776, American rebels staffed their ‘Homeland Security’ units with paper makers, knowing that defeating the English would be based on printed and written documents (Hahn). Mao Zedong was a book librarian; Mao said political power came out of the barrel of a gun, but Mao himself came out of a library. With the spread of wireless networked servers, political ferment comes out of the barrel of the cell phone and the internet chat room these days. Witness the cell phone displays of a plane hitting a tower that appear immediately after 9/11 in the Middle East, or witness the show trials of a few US and UK lower ranks who published prints of their torturing activities onto the internet: only lower ranks who published prints were arrested or tried. The control of secure servers and satellites is the new press. These days, we live in a global library of burning books – ‘burning’ in the sense that ‘print’ is now a charged silicon medium (Smith, “Intel”) which is usually made readable by connecting the chip to nuclear reactors and petrochemically-fired power stations. World resources burn as we read our screens. Men, women, children burn too, as we watch our infotainment news in comfort while ‘their’ flickering dead faces are printed in our broadcast hearths. The print we watch is not the living; it is the voodoo of the living in the blackout behind the camera, engaging the blood sacrifice of the tormented and the unfortunate. Internet texts are also ‘on fire’ in the third sense of their fragility and instability as a medium: data bases regularly ‘print’ fail-safe copies in an attempt to postpone the inevitable mechanical, chemical and electrical failure that awaits all electronic media in time. Print defines a moral position for everyone. In reporting conflict, in deciding to go to press or censor, any ‘print’ cannot avoid an ethical context, starting with the fact that there is a difference in power between print maker, armed perpetrators, the weak, the peaceful, the publisher, and the viewer. So many human factors attend a text, video or voice ‘print’: its very existence as an aesthetic object, even before publication and reception, speaks of unbalanced, and therefore dynamic, power relationships. For example, Graham Greene departed unscathed from all the highly dangerous battlefields he entered as a novelist: Riot-torn Germany, London Blitz, Belgian Congo, Voodoo Haiti, Vietnam, Panama, Reagan’s Washington, and mafia Europe. His texts are peopled with the injustices of the less fortunate of the twentieth century, while he himself was a member of the fortunate (if not happy) elite, as is anyone today who has the luxury of time to read Greene’s works for pleasure. Ethically a member of London and Paris’ colonizers, Greene’s best writing still electrifies, perhaps partly because he was in the same line of fire as the victims he shared bread with. In fact, Greene hoped daily that he would escape from the dreadful conflicts he fictionalized via a body bag or an urn of ashes (see Sherry). In reading an author’s biography we have one window on the ethical dimensions of authority and print. If a print’s aesthetics are sometimes enduring, its ethical relationships are always mutable. Take the stylized logo of a running athlete: four limbs bent in a rotation of action. This dynamic icon has symbolized ‘good health’ in Hindu and Buddhist culture, from Madras to Tokyo, for thousands of years. The cross of bent limbs was borrowed for the militarized health programs of 1930s Germany, and, because of what was only a brief, recent, isolated yet monstrously horrific segment of its history in print, the bent-limbed swastika is now a vilified symbol in the West. The sign remains ‘impressed’ differently on traditional Eastern culture, and without the taint of Nazism. Dramatic prints are emotionally charged because, in depicting Homo sapiens in danger, or passionately in love, they elicit a hormonal reaction from the reader, the viewer, or the audience. The type of emotions triggered by a print vary across the whole gamut of human chemistry. A recent study of three genres of motion picture prints shows a marked differences in the hormonal responses of men compared to women when viewing a romance, an actioner, and a documentary (see Schultheiss, Wirth, and Stanton). Society is biochemically diverse in its engagement with printed culture, which raises questions about equality in the arts. Motion picture prints probably comprise around one third of internet traffic, in the form of stolen digitized movie files pirated across the globe via peer-to-peer file transfer networks (p2p), and burnt as DVD laser prints (BBC). There is also a US 40 billion dollar per annum legitimate commerce in DVD laser pressings (Grassl), which would suggest an US 80 billion per annum world total in legitimate laser disc print culture. The actively screen literate, or the ‘sliterati’ as I prefer to call them, research this world of motion picture prints via their peers, their internet information channels, their television programming, and their web forums. Most of this activity occurs outside the ambit of universities and schools. One large site of sliterate (screen literate) practice outside most schooling and official research is the net of online forums at imdb.com (International Movie Data Base). Imdb.com ‘prints’ about 25,000,000 top pages per month to client browsers. Hundreds of sliterati forums are located at imdb, including a forum for the Australian movie, Muriel’s Wedding (Hogan). Ten years after the release of Muriel’s Wedding, young people who are concerned with victimization and bullying still log on to http://us.imdb.com/title/tt0110598/board/> and put their thoughts into print: I still feel so bad for Muriel in the beginning of the movie, when the girls ‘dump’ her, and how much the poor girl cried and cried! Those girls were such biartches…I love how they got their comeuppance! bunniesormaybemidgets’s comment is typical of the current discussion. Muriel’s Wedding was a very popular film in its first cinema edition in Australia and elsewhere. About 30% of the entire over-14 Australian population went to see this photochemical polyester print in the cinemas on its first release. A decade on, the distributors printed a DVD laser disc edition. The story concerns Muriel (played by Toni Collette), the unemployed daughter of a corrupt, ‘police state’ politician. Muriel is bullied by her peers and she withdraws into a fantasy world, deluding herself that a white wedding will rescue her from the torments of her blighted life. Through theft and deceit (the modus operandi of her father) Muriel escapes to the entertainment industry and finds a ‘wicked’ girlfriend mentor. From a rebellious position of stubborn independence, Muriel plays out her fantasy. She gets her white wedding, before seeing both her father and her new married life as hollow shams which have goaded her abandoned mother to suicide. Redefining her life as a ‘game’ and assuming responsibility for her independence, Muriel turns her back on the mainstream, image-conscious, female gang of her oppressed youth. Muriel leaves the story, having rekindled her friendship with her rebel mentor. My methodological approach to viewing the laser disc print was to first make a more accessible, coded record of the entire movie. I was able to code and record the print in real time, using a new metalanguage (Watson, “Eyes”). The advantage of Coding is that ‘thinks’ the same way as film making, it does not sidetrack the analyst into prose. The Code splits the movie print into Vision Action [vision graphic elements, including text] (sound) The Coding splits the vision track into normal action and graphic elements, such as text, so this Coding is an ideal method for extracting all the text elements of a film in real time. After playing the film once, I had four and a half tightly packed pages of the coded story, including all its text elements in square brackets. Being a unique, indexed hard copy, the Coded copy allowed me immediate access to any point of the Muriel’s Wedding saga without having to search the DVD laser print. How are ‘print’ elements used in Muriel’s Wedding? Firstly, a rose-coloured monoprint of Muriel Heslop’s smiling face stares enigmatically from the plastic surface of the DVD picture disc. The print is a still photo captured from her smile as she walked down the aisle of her white wedding. In this print, Toni Collette is the Mona Lisa of Australian culture, except that fans of Muriel’s Wedding know the meaning of that smile is a magical combination of the actor’s art: the smile is both the flush of dreams come true and the frightening self deception that will kill her mother. Inserting and playing the disc, the text-dominant menu appears, and the film commences with the text-dominant opening titles. Text and titles confer a legitimacy on a work, whether it is a trade mark of the laser print owners, or the household names of stars. Text titles confer status relationships on both the presenters of the cultural artifact and the viewer who has entered into a legal license agreement with the owners of the movie. A title makes us comfortable, because the mind always seeks to name the unfamiliar, and a set of text titles does that job for us so that we can navigate the ‘tracks’ and settle into our engagement with the unfamiliar. The apparent ‘truth’ and ‘stability’ of printed text calms our fears and beguiles our uncertainties. Muriel attends the white wedding of a school bully bride, wearing a leopard print dress she has stolen. Muriel’s spotted wild animal print contrasts with the pure white handmade dress of the bride. In Muriel’s leopard textile print, we have the wild, rebellious, impoverished, inappropriate intrusion into the social ritual and fantasy of her high-status tormentor. An off-duty store detective recognizes the printed dress and calls the police. The police are themselves distinguished by their blue-and-white checked prints and other mechanically reproduced impressions of cultural symbols: in steel, brass, embroidery, leather and plastics. Muriel is driven in the police car past the stenciled town sign (‘Welcome To Porpoise Spit’ heads a paragraph of small print). She is delivered to her father, a politician who presides over the policing of his town. In a state where the judiciary, police and executive are hijacked by the same tyrant, Muriel’s father, Bill, pays off the police constables with a carton of legal drugs (beer) and Muriel must face her father’s wrath, which he proceeds to transfer to his detested wife. Like his daughter, the father also wears a spotted brown print costume, but his is a batik print from neighbouring Indonesia (incidentally, in a nation that takes the political status of its batik prints very seriously). Bill demands that Muriel find the receipt for the leopard print dress she claims she has purchased. The legitimate ownership of the object is enmeshed with a printed receipt, the printed evidence of trade. The law (and the paramilitary power behind the law) are legitimized, or contested, by the presence or absence of printed text. Muriel hides in her bedroom, surround by poster prints of the pop group ABBA. Torn-out prints of other people’s weddings adorn her mirror. Her face is embossed with the clown-like primary colours of the marionette as she lifts a bouquet to her chin and stares into the real time ‘print’ of her mirror image. Bill takes the opportunity of a business meeting with Japanese investors to feed his entire family at ‘Charlie Chan’’s restaurant. Muriel’s middle sister sloppily wears her father’s state election tee shirt, printed with the text: ‘Vote 1, Bill Heslop. You can’t stop progress.’ The text sets up two ironic gags that are paid off on the dialogue track: “He lost,’ we are told. ‘Progress’ turns out to be funding the concreting of a beach. Bill berates his daughter Muriel: she has no chance of becoming a printer’s apprentice and she has failed a typing course. Her dysfunction in printed text has been covered up by Bill: he has bribed the typing teacher to issue a printed diploma to his daughter. In the gambling saloon of the club, under the arrays of mechanically repeated cultural symbols lit above the poker machines (‘A’ for ace, ‘Q’ for queen, etc.), Bill’s secret girlfriend Diedre risks giving Muriel a cosmetics job. Another text icon in lights announces the surf nightclub ‘Breakers’. Tania, the newly married queen bitch who has made Muriel’s teenage years a living hell, breaks up with her husband, deciding to cash in his negotiable text documents – his Bali honeymoon tickets – and go on an island holiday with her girlfriends instead. Text documents are the enduring site of agreements between people and also the site of mutations to those agreements. Tania dumps Muriel, who sobs and sobs. Sobs are a mechanical, percussive reproduction impressed on the sound track. Returning home, we discover that Muriel’s older brother has failed a printed test and been rejected for police recruitment. There is a high incidence of print illiteracy in the Heslop family. Mrs Heslop (Jeannie Drynan), for instance, regularly has trouble at the post office. Muriel sees a chance to escape the oppression of her family by tricking her mother into giving her a blank cheque. Here is the confluence of the legitimacy of a bank’s printed negotiable document with the risk and freedom of a blank space for rebel Muriel’s handwriting. Unable to type, her handwriting has the power to steal every cent of her father’s savings. She leaves home and spends the family’s savings at an island resort. On the island, the text print-challenged Muriel dances to a recording (sound print) of ABBA, her hand gestures emphasizing her bewigged face, which is made up in an impression of her pop idol. Her imitation of her goddesses – the ABBA women, her only hope in a real world of people who hate or avoid her – is accompanied by her goddesses’ voices singing: ‘the mystery book on the shelf is always repeating itself.’ Before jpeg and gif image downloads, we had postcard prints and snail mail. Muriel sends a postcard to her family, lying about her ‘success’ in the cosmetics business. The printed missal is clutched by her father Bill (Bill Hunter), who proclaims about his daughter, ‘you can’t type but you really impress me’. Meanwhile, on Hibiscus Island, Muriel lies under a moonlit palm tree with her newly found mentor, ‘bad girl’ Ronda (Rachel Griffiths). In this critical scene, where foolish Muriel opens her heart’s yearnings to a confidante she can finally trust, the director and DP have chosen to shoot a flat, high contrast blue filtered image. The visual result is very much like the semiabstract Japanese Ukiyo-e woodblock prints by Utamaro. This Japanese printing style informed the rise of European modern painting (Monet, Van Gogh, Picasso, etc., were all important collectors and students of Ukiyo-e prints). The above print and text elements in Muriel’s Wedding take us 27 minutes into her story, as recorded on a single page of real-time handwritten Coding. Although not discussed here, the Coding recorded the complete film – a total of 106 minutes of text elements and main graphic elements – as four pages of Code. Referring to this Coding some weeks after it was made, I looked up the final code on page four: taxi [food of the sea] bq. Translation: a shop sign whizzes past in the film’s background, as Muriel and Ronda leave Porpoise Spit in a taxi. Over their heads the text ‘Food Of The Sea’ flashes. We are reminded that Muriel and Ronda are mermaids, fantastic creatures sprung from the brow of author PJ Hogan, and illuminated even today in the pantheon of women’s coming-of-age art works. That the movie is relevant ten years on is evidenced by the current usage of the Muriel’s Wedding online forum, an intersection of wider discussions by sliterate women on imdb.com who, like Muriel, are observers (and in some cases victims) of horrific pressure from ambitious female gangs and bullies. Text is always a minor element in a motion picture (unless it is a subtitled foreign film) and text usually whizzes by subliminally while viewing a film. By Coding the work for [text], all the text nuances made by the film makers come to light. While I have viewed Muriel’s Wedding on many occasions, it has only been in Coding it specifically for text that I have noticed that Muriel is a representative of that vast class of talented youth who are discriminated against by print (as in text) educators who cannot offer her a life-affirming identity in the English classroom. Severely depressed at school, and failing to type or get a printer’s apprenticeship, Muriel finds paid work (and hence, freedom, life, identity, independence) working in her audio visual printed medium of choice: a video store in a new city. Muriel found a sliterate admirer at the video store but she later dumped him for her fantasy man, before leaving him too. One of the points of conjecture on the imdb Muriel’s Wedding site is, did Muriel (in the unwritten future) get back together with admirer Brice Nobes? That we will never know. While a print forms a track that tells us where culture has been, a print cannot be the future, a print is never animate reality. At the end of any trail of prints, one must lift one’s head from the last impression, and negotiate satisfaction in the happening world. References Australian Broadcasting Corporation. “Memo Shows US General Approved Interrogations.” 30 Mar. 2005 http://www.abc.net.au>. British Broadcasting Commission. “Films ‘Fuel Online File-Sharing’.’’ 22 Feb. 2005 http://news.bbc.co.uk/1/hi/technology/3890527.stm>. Bretherton, I. “The Origins of Attachment Theory: John Bowlby and Mary Ainsworth.” 1994. 23 Jan. 2005 http://www.psy.med.br/livros/autores/bowlby/bowlby.pdf>. Bunniesormaybemidgets. Chat Room Comment. “What Did Those Girls Do to Rhonda?” 28 Mar. 2005 http://us.imdb.com/title/tt0110598/board/>. Chinese Graphic Arts Net. Mantras of the Dharani Sutra. 20 Feb. 2005 http://www.cgan.com/english/english/cpg/engcp10.htm>. Ewins, R. Barkcloth and the Origins of Paper. 1991. 20 Feb. 2005 http://www.justpacific.com/pacific/papers/barkcloth~paper.html>. Grassl K.R. The DVD Statistical Report. 14 Mar. 2005 http://www.corbell.com>. Hahn, C. M. The Topic Is Paper. 20 Feb. 2005 http://www.nystamp.org/Topic_is_paper.html>. Harper, D. Online Etymology Dictionary. 14 Mar. 2005 http://www.etymonline.com/>. Mask of Zorro, The. Screenplay by J McCulley. UA, 1920. Muriel’s Wedding. Dir. PJ Hogan. Perf. Toni Collette, Rachel Griffiths, Bill Hunter, and Jeannie Drynan. Village Roadshow, 1994. O’Hagan, Jack. On The Road to Gundagai. 1922. 2 Apr. 2005 http://ingeb.org/songs/roadtogu.html>. Poole, J.H., P.L. Tyack, A.S. Stoeger-Horwath, and S. Watwood. “Animal Behaviour: Elephants Are Capable of Vocal Learning.” Nature 24 Mar. 2005. Sanchez, R. “Interrogation and Counter-Resistance Policy.” 14 Sept. 2003. 30 Mar. 2005 http://www.abc.net.au>. Schultheiss, O.C., M.M. Wirth, and S.J. Stanton. “Effects of Affiliation and Power Motivation Arousal on Salivary Progesterone and Testosterone.” Hormones and Behavior 46 (2005). Sherry, N. The Life of Graham Greene. 3 vols. London: Jonathan Cape 2004, 1994, 1989. Silk Road. Printing. 2000. 20 Feb. 2005 http://www.silk-road.com/artl/printing.shtml>. Smith, T. “Elpida Licenses ‘DVD on a Chip’ Memory Tech.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. —. “Intel Boffins Build First Continuous Beam Silicon Laser.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. Watson, R. S. “Eyes And Ears: Dramatic Memory Slicing and Salable Media Content.” Innovation and Speculation, ed. Brad Haseman. Brisbane: QUT. [in press] Watson, R. S. Visions. Melbourne: Curriculum Corporation, 1994. Citation reference for this article MLA Style Watson, Robert. "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/08-watson.php>. APA Style Watson, R. (Jun. 2005) "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/08-watson.php>.

Western notions of authors’ Intellectual Property Rights (IPRs), as expressed within copyright law, maintain a potentially fraught relationship with a range of philosophical and theoretical positions on writing and authorship that have developed within contemporary Western thinking. For Roland Barthes, authorship is compromised, de-identified and multiplied by the very nature of writing: ‘Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing’ (142). Gilles Deleuze and Félix Guattari follow a related line of thought in A Thousand Plateaus: ‘Write, form a rhizome, increase your territory by deterritorialization, extend the line of flight to the point where it becomes an abstract machine covering the entire plane of consistency’ (11). Similarly, in Of Grammatology, Jacques Derrida suggests that ‘Writing is that forgetting of the self, that exteriorization, the contrary of the interiorizing memory’ (24). To the extent that these philosophical and theoretical positions emerge within the practices of creative writers as remixes of appropriation, homage and/or pastiche, prima facie they problematize the commercial rights of writers as outlined in law. The case of Kathy Acker often comes up in such discussions. Acker’s 1984 novel Blood and Guts in High School, for example, incorporates techniques that have attracted the charge of plagiarism as this term is commonly defined. (Peter Wollen notes this in his aptly named essay ‘Death [and Life] of the Author.’) For texts like Acker’s, the comeback against charges of plagiarism usually involves underscoring the quotient of creativity involved in the re-combination or ‘remixing’ of the parts of the original texts. (Pure repetition would, it would seem, be much harder to defend.) ‘Plagiarism’, so-called, was simply one element of Acker’s writing technique; Robert Lort nuances plagiarism as it applies to Acker as ‘pseudo-plagiarism’. According to Wollen, ‘as she always argued, it wasn’t really plagiarism because she was quite open about what she did.’ As we shall demonstrate in more detail later on, however, there is another and, we suggest, more convincing reason why Acker’s work ‘wasn’t really plagiarism.’ This relates to her conscious interest in calligraphy and to her (perhaps unconscious) appropriation of a certain strand of Chinese philosophy. All the same, within the Western context, the consistent enforcement of copyright law guarantees the rights of authors to control the distribution of their own work and thus its monetised value. The author may be ‘dead’ in writing—just the faintest trace of remixed textuality—but he/she is very much ‘alive’ as in recognised at law. The model of the author as free-standing citizen (as a defined legal entity) that copyright law employs is unlikely to be significantly eroded by the textual practices of authors who tarry artistically in the ‘de-authored territories’ mapped by figures like Barthes, Deleuze and Guattari, and Derrida. Crucially, disputes concerning copyright law and the ethics of remix are resolved, within the Western context, at the intersection of relatively autonomous creative and legal domains. In the West, it is seen that these two domains are related within the one social fabric; each nuances the other (as Acker’s example shows in the simultaneity of her legal/commercial status as an author and her artistic practice as a ‘remixer’ of the original works of other authors). Legal and writing issues co-exist even as they fray each other’s boundaries. And in Western countries there is force to the law’s operations. However, the same cannot be said of the situation with respect to copyright law in China. Chinese artists are traditionally regarded as being aloof from mundane legal and commercial matters, with the consequence that the creative and the legal domains tend to ‘miss each other’ within the fabric of Chinese society. To this extent, the efficacy of the law is muted in China when it comes into contact with circumstances of authorship, writing, originality and creativity. (In saying this though, we do not wish to fall into the trap of cultural essentialism: in this article, ‘China’ and ‘The West’ are placeholders for variant cultural tendencies—clustered, perhaps, around China and its disputed territories such as Taiwan on the one hand, and around America on the other—rather than homogeneous national/cultural blocs.) Since China opened its system to Western capitalist economic activity in the 1980s, an ongoing criticism, sourced mainly out of the West, has been that the country lacks proper respect for notions of authorship and, more directly, for authorship’s derivative: copyright law. Tellingly, it took almost ten years of fierce negotiations between elements of the capitalist lobby in China and the Legislative Bureau to make the Seventh National People’s Congress pass the first Copyright Law of the People’s Republic of China on 7 September 1990. A law is one thing though, and adherence to the law is another. Jayanthi Iyengar of Asia Times Online reports that ‘the US government estimates that piracy within China [of all types of products] costs American companies $20-24 billion a year in damages…. If one includes European and Japanese firms, the losses on account of Chinese piracy is in excess of $50 billion annually.’ In 2008, the International Federation of the Phonographic Industry (IFPI) reported that more than 99% of all music files in China are pirated. In the same year, Cara Anna wrote in The Seattle Times that, in desperation at the extent of Chinese infringement of its Intellectual Property Rights (IPRs), Microsoft has deployed an anti-piracy tactic that blacks out the screens of computers detected running a fake copy of Windows. The World Trade Organisation (WTO) has filed complaints from many countries against China over IPRs. Iyengar also reports that, under such pressure, the State Intellectual Property Office in Beijing has vowed it will continue to reinforce awareness of IPRs in order to better ensure their protection. Still, from the Western perspective at least, progress on this extremely contentious issue has been excruciatingly slow. Such a situation in respect of Chinese IPRs, however, should not lead to the conclusion that China simply needs to catch up with the more ‘morally advanced’ West. Rather, the problematic relations of the law and of creativity in China allow one to discern, and to trace through ancient Chinese history and philosophy, a different approach to remix that does not come into view so easily within Western countries. Different materialisms of writing and authorship come into play across global space, with different effects. The resistance to both the introduction and the policing of copyright law in China is, we think, the sign of a culture that retains something related to authorship and creativity that Western culture only loosely holds onto. It provides a different way of looking at remix, in the guise of what the West would tend to label plagiarism, as a practice, especially, of creativity. The ‘death’ of the author in China at law (the failure to legislate and/or police his/her rights) brings the author, as we will argue, ‘alive’ in the writing. Remix as anonymous composition (citing Barthes) becomes, in the Chinese example, remix as creative expression of singular feelings—albeit remix set adrift from the law. More concretely, our example of the Chinese writer/writing takes remix to its limit as a practice of repetition without variation—what the West would be likely to call plagiarism. Calligraphy is key to this. Of course, calligraphy is not the full extent of Chinese writing practice—not all writing is calligraphic strictly speaking. But all calligraphy is writing, and in this it influences the ethics of Chinese writing, whether character-based or otherwise, more generally. We will have more to say about the ‘pictorial’ material aspect of Chinese writing later on. In traditional Chinese culture, writing is regarded as a technical practice perfected through reproduction. Chinese calligraphy (visual writing) is learnt through exhaustively tracing and copying the style of the master calligrapher. We are tempted to say that what is at stake in Chinese remix/calligraphy is ‘the difference that cannot be helped:’ that is, the more one tries, as it were, to repeat, the more repetition becomes impossible. In part, this is explained by the interplay of Qing 情 (‘feelings’) and Yun 韵 (‘composed body movements’). Now, the order of the characters—Qing 情 (‘feelings’) before Yun 韵 (‘composed body movements’)—suggests that Qing creates and supports Yun. To this extent, what we have here is something akin to a Western understanding of creative writing (of the creativity of writing) in which individual and singular feelings are given expression in the very movement of the writing itself (through the bodily actions of the writer). In fact though, the Chinese case is more complicated than this, for the apprenticeship model of Chinese calligraphy cultivates a two-way interplay of Qing 情 (‘feelings’) and Yun 韵 (‘composed body movements’). More directly, the ‘composed body movements’ that one learns from the master calligrapher help compose one’s own ‘feelings’. The very repetition of the master’s work (its remixing, as it were…) enables the creativity of the apprentice. If this model of creativity is found somewhat distasteful from a Western perspective (that is, if it is seen to be too restrictive of originality) then that is because such a view, we think, depends upon a cultural misunderstanding that we will try to clear up here. To wit, the so-called Confucian model of rote learning that is more-or-less frowned upon in the West is not, at least not in the debased form that it adopts in Western stereotypes, the philosophy active in the case of Chinese calligraphy. That philosophy is Taoism. As Wing-Tsit Chan elucidates, ‘by opposing Confucian conformity with non-conformity and Confucian worldliness with a transcendental spirit, Taoism is a severe critic of Confucianism’ (136). As we will show in a moment, Chinese calligraphy exemplifies this special kind of Taoist non-conformity (in which, as Philip J. Ivanhoe limns it, ‘one must unweave the social fabric’). Chan again: ‘As the way of life, [Taoism] denotes simplicity, spontaneity, tranquility, weakness, and most important of all, non-action (wu-wei). By the latter is not meant literally “inactivity” but rather “taking no action that is contrary to Nature”—in other words, letting Nature take its own course’ (136). Thus, this is a philosophy of ‘weakness’ that is neither ‘negativism’ nor ‘absolute quietism’ (137). Taoism’s supposed weakness is rather a certain form of strength, of (in the fullest sense) creative possibilities, which comes about through deference to the way of Nature. ‘Hold fast to the great form (Tao), / And all the world will come’ illustrates this aspect of Taoism in its major philosophical tract, The Lao Tzu (Tao-Te Ching) or The Classic of the Way and its Virtue (section 35, Chan 157). The guiding principle is one of deference to the original (way, Nature or Tao) as a strategy of an expression (of self) that goes beyond the original. The Lao Tzu is full of cryptic, metaphoric expressions of this idea: ‘The pursuit of learning is to increase day after day. / The pursuit of Tao is to decrease day after day. / It is to decrease and further decrease until one reaches the point of taking no action. / No action is undertaken, and yet nothing is left undone’ (section 48, Chan 162). Similarly, The female always overcomes the male by tranquility, / And by tranquility she is underneath. / A big state can take over a small state if it places itself below the small state; / And the small state can take over a big state if it places itself below the big state. / Thus some, by placing themselves below, take over (others), / And some, by being (naturally) low, take over (other states) (section 61, Chan 168). In Taoism, it is only by (apparent) weakness and (apparent) in-action that ‘nothing is left undone’ and ‘states’ are taken over. The two-way interplay of Qing 情 (‘feelings’) and Yun 韵 (‘composed body movements’), whereby the apprentice copies the master, aligns with this key element of Taoism. Here is the linkage between calligraphy and Taoism. The master’s work is Tao, Nature or the way: ‘Hold fast to the great form (Tao), / And all the world will come’ (section 35, Chan 157). The apprentice’s calligraphy is ‘all the world’ (‘all the world’ being, ultimately in this context, Qing 情 [‘feelings’]). Indeed, Taoism itself is a subtle philosophy of learning (of apprenticeship to a master), unlike Confucianism, which Chan characterises as a doctrine of ‘social order’ (of servitude to a master) (136). ‘“Learn not learn”’ is how Wang Pi, as quoted by Chan (note 121, 170), understands what he himself (Chan) translates as ‘He learns to be unlearned’ (section 64, 170). In unlearning one learns what cannot be taught: this is, we suggest, a remarkable definition of creativity, which also avoids falling into the trap of asserting a one-to-one equivalence between (unlearnt) originality and creativity, for there is both learning and creativity in this Taoist paradox of pedagogy. On this, Michael Meehan points out that ‘originality is an over-rated and misguided concept in many ways.’ (There is even a sense in which, through its deliberate repetition, The Lao Tzu teaches itself, traces over itself in ‘self-plagiarising’ fashion, as if it were reflecting on the re-tracings of calligraphic pedagogy. Chan notes just how deliberate this is: ‘Since in ancient times books consisted of bamboo or wooden slabs containing some twenty characters each, it was not easy for these sentences… to be added by mistake…. Repetitions are found in more than one place’ [note 102, 166].) Thinking of Kathy Acker too as a learner, Peter Wollen’s observation that she ‘incorporated calligraphy… in her books’ and ‘was deeply committed to [the] avant-garde tradition, a tradition which was much stronger in the visual arts’ creates a highly suggestive connection between Acker’s work and Taoism. The Taoist model for learning calligraphy as, precisely, visual art—in which copying subtends creativity—serves to shift Acker away from a Barthesian or Derridean framework and into a Taoist context in which adherence to another’s form (as ‘un-learnt learning’) creatively unravels so-called plagiarism from the inside. Acker’s conscious interest in calligraphy is shown by its prevalence in Blood and Guts in High School. Edward S. Robinson identifies this text as part of her ‘middle phase’, which ‘saw the introduction of illustrations and diagrams to create multimedia texts with a collage-like feel’ (154). To our knowledge, Acker never critically reflected upon her own calligraphic practices; perhaps if she had, she would have troubled what we see as a blindspot in critics’ interpretations of her work. To wit, whenever calligraphy is mentioned in criticism on Acker, it tends to be deployed merely as an example of her cut-up technique and never analysed for its effects in its own cultural, philosophical and material specificity. (Interestingly, if the words of Chinese photographer Liu Zheng are any guide, the Taoism we’re identifying in calligraphy has also worked its way into other forms of Chinese visual art: she refers to ‘loving photographic details and cameras’ with the very Taoist term, ‘lowly’ 低级 [Three Shadows Photography Art Centre 187].) Being ‘lowly’, ‘feminine’ or ‘underneath’ has power as a radical way of learning. We mentioned above that Taoism is very metaphoric. As the co-writer of this paper Cher Coad recalls from her calligraphy classes, students in China grow up with a metaphoric proverb clearly inspired by Lao Tzu’s Taoist philosophy of learning: ‘Learning shall never stop. Black comes from blue, but is more than the blue.’ ‘Black comes from blue, but is more than the blue.’ What could this mean? Before answering this question with recourse to two Western notions that, we hope, will further effect (building on Acker’s example) a rapprochement between Chinese and Western ways of thinking (be they nationally based or not), we reiterate that the infringement of Intellectual Property Rights (IPRs) in China should not be viewed only as an egregious denial of universally accepted law. Rather, whatever else it may be, we see it as the shadow in the commercial realm—mixed through with all the complexities of Chinese tradition, history and cultural difference, and most particularly of the Taoist strand within Confucianism—of the never-quite-perfect copying of calligraphic writing/remixing. More generally, the re-examination of stereotypical assumptions about Chinese culture cues a re-examination of the meaning behind the copying of products and technology in contemporary, industrialised China. So, ‘Black comes from blue, but is more than the blue.’ What is this ‘more than the blue of black’? Or put differently, why is calligraphic writing, as learnt from the master, always infused with the singular feelings of the (apprentice) writer? The work of Deleuze, Guattari and Claire Parnet provides two possible responses. In On the Line, Deleuze and Guattari (and Deleuze in co-authorship with Parnet) author a number of comments that support the conception we are attempting to develop concerning the lines of Chinese calligraphy. A line, Deleuze and Guattari suggest, is always a line of lines (‘Line of chance, line of hips, line of flight’ [57]). In the section of On the Line entitled ‘Politics’, Deleuze and Parnet outline the impossibility of any line being just one line. If life is a line (as it is said, you throw someone a life line), then ‘We have as many entangled lines in our lives as there are in the palm of a hand’ (71). Of any (hypothetical) single line it can be said that other lines emerge: ‘Black comes from blue, but is more than the blue.’ The feelings of the apprentice calligrapher (his/her multiple lines) emerge through the repeated copying of the lines and composed body movements of the master. The Deleuzean notion of repetition takes this idea further. Repetitive Chinese calligraphy clearly indexes what Claire Colebrook refers to as ‘Deleuze’s concept of eternal return. The only thing that is repeated or returns is difference; no two moments of life can be the same. By virtue of the flow of time, any repeated event is necessarily different (even if different only to the extent that it has a predecessor)’ (121). Now, it might be objected that Chinese calligraphic practices, because of the substantially ideographic nature of Chinese writing (see Kristeva 72-81), allow for material mutations that can find no purchase in Western, alphabetical systems of writing. But the materiality of time that Colebrook refers to as part of her engagement with Deleuzean non-repetitious (untimely) repetition guarantees the materiality of all modes of writing. Furthermore, Julia Kristeva notes that, with any form of language, one cannot leave ‘the realm of materialism’ (6) and Adrian Miles, in his article ‘Virtual Actual: Hypertext as Material Writing,’ sees the apparently very ‘unmaterial’ writing of hypertext ‘as an embodied activity that has its own particular affordances and possibilities—its own constraints and local actualisations’ (1-2). Calligraphic repetition of the master’s model creates the apprentice’s feelings as (inevitable) difference. In this then, the learning by the Chinese apprentice of the lines of the master’s calligraphy challenges international (both Western and non-Western) artists of writing to ‘remix remix’ as a matter—as a materialisation—of the line. Not the line as a self-identical entity of writing that only goes to make up writing more generally; rather, lines as a materialisation of lines within lines within lines. More self-reflexively, even the collaborative enterprise of this article, co-authored as it is by a woman of Chinese ethnicity and a white Australian man, suggests a remixing of writing through, beneath and over each other’s lines. Yun 韵 (‘composed body movements’) expresses and maximises Qing 情 (‘feelings’). Taoist ‘un-learnt learning’ generates remix as the singular creativity of the writer. Writers get into a blue with the line—paint it, black. Of course, these ideas won’t and shouldn’t make copyright infringement (or associated legalities) redundant notions. But in exposing the cultural relativisms often buried within the deployment of this and related terms, the idea of lines of lines far exceeds a merely formalistic practice (one cut off from the materialities of culture) and rather suggests a mode of non-repetitious repetition in contact with all of the elements of culture (of history, of society, of politics, of bodies…) wherever these may be found, and whatever their state of becoming. In this way, remix re-creates the depths of culture even as it stirs up its surfaces of writing. References Acker, Kathy. Blood and Guts in High School: A Novel. New York: Grove Press, 1978. Anna, Cara. ‘Microsoft Anti-Piracy Technology Upsets Users in China.’ The Seattle Times. 28 Oct. 2008 ‹http://seattletimes.com/html/businesstechnology/2008321919_webmsftchina28.html›. Barthes, Roland. ‘The Death of the Author.’ Barthes, Roland. Image-Music-Text. London: Fontana Press, 1977. 142-148. Chan, Wing-Tsit. A Source Book in Chinese Philosophy. Princeton, New Jersey: Princeton University Press, 1969. Colebrook, Claire. Gilles Deleuze. London: Routledge, 2002. Deleuze, Gilles, and Félix Guattari. On the Line. New York: Semiotext(e), 1983. Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1987. Derrida, Jacques. Of Grammatology. Baltimore: Johns Hopkins University Press, 1976. International Federation of the Phonographic Industry. ‘Recording Industry Steps Up Campaign against Internet Piracy in China.’ ifpi. 4 Feb. 2008 ‹http://www.ifpi.org/content/section_news/20080204.html›. Ivanhoe, Philip J. ‘Taoism’. The Cambridge Dictionary of Philosophy. Ed. Robert Audi. Cambridge: Cambridge University Press, 1995. 787. Iyengar, Jayanthi. ‘Intellectual Property Piracy Rocks China Boat.’ Asia Times Online. 16 Sept. 2004 ‹http://www.atimes.com/atimes/China/FI16Ad07.html›. Kristeva, Julia. Language: The Unknown: An Initiation into Linguistics. New York: Columbia University Press, 1989. Lort, Robert. ‘Kathy Acker (1944-1997).’ Jahsonic: A Vocabulary of Culture. 2003 ‹http://www.jahsonic.com/KathyAcker.html›. Meehan, Michael. ‘Week 5a: Playing with Genres.’ Lecture notes. Unit ALL705. Short Stories: Writers and Readers. Trimester 2. Melbourne: Deakin University, 2013. Miles, Adrian. ‘Virtual Actual: Hypertext as Material Writing.’ Studies in Material Thinking 1.2 (April 2008) ‹http://www.materialthinking.org/papers/29›. Robinson, Edward S. Shift Linguals: Cut-up Narratives from William S. Burroughs to the Present. New York: Editions Rodopi, 2011. Three Shadows Photography Art Centre. ‘Photography and Intimate Space Symposium.’ Conversations: Three Shadows Photography Art Centre’s 2007 Symposium Series. Ed. RongRong, inri, et al. Beijing: Three Shadows Press Limited, 2008. 179-191. Wollen, Peter. ‘Death (and Life) of the Author.’ London Review of Books 20.3 (5 Feb. 1998). ‹http://www.lrb.co.uk/v20/n03/peter-wollen/death-and-life-of-the-author›.

The leitmotif of this Ph.D. thesis is represented by carbon dioxide (CO2) recycling via biological production of methane (CH4). This work particularly focuses on the physiology of three hydrogenotrophic methanogens, Methanothermobacter marburgensis (M. marburgensis), Methanothermococcus okinawensis (M. okinawensis) and Methanococcus maripaludis S2 (M. maripaludis), that can be used as catalysts for biological methane production (BMP) process. This CO2 recycling method is challenging due to an inefficient transfer rate of molecular hydrogen (H2) from the gas phase to the liquid phase. Thus, the biocatalyst performance is limited by H2 availability in the liquid medium. However, several factors, as strain type and media requirements, operating conditions, and reactor design, can contribute to the success of CO2 conversion to CH4. Understanding the physiology of methanogens is a powerful tool for developing a scalable BMP process. Therefore, a novel study on the role of trace metals in pure cultures of M. okinawensis and M. marburgensis respectively is herein proposed. Experimental method of this study included an in silico analysis, closed batch, and fed-batch cultivations. In silico analysis revealed genomic differences among the transport systems and enzymes related to the methanogenesis pathway of these two methanogens. The importance of Fe as metal cofactor in methanogenesis emerged from the in silico analysis and it has been confirmed by the closed batch and fed-batch experiments. M. okinawensis responded to rising concentrations of trace element (TE) by increasing specific growth rate (µ, h-1) and volumetric productivity of methane (MER, mmolL-1h-1) during closed batch cultivation. Furthermore, M. okinawensis shown growth and CH4 in fed-batch cultivation. On the base of fed-batch cultures results, M. marburgensis was prioritized and applied for CO2-based BMP process optimization. It has been proposed a new feeding strategy based on exponential fed-batch cultivation where different medium-, TE- and sulphide dilution rates combinations, and different CO2/H2 inflow rates corresponded to a defined run. The specific setting of each run produced different responses from M. marburgensis. In this context, a MER of 476 mmol L-1 h-1 and µ of 0.69 h-1 were eventually achieved at highest H2/CO2 gassing rate and ratio. However, if these factors mitigate the limitation due to the H2 mass transfer on one side, they also reduce CH4 purity in the offgas on the other side. The combined effect of increasing TE dilution and H2/CO2 gassing rates positively affected the biomass and biomass concentration. Among trace elements, there are heavy metals whose toxicity is higher than others. Heavy metals can seriously affect the functionality of microorganisms, and therefore compromise their performances as biocatalysts of a bio-based process. Not only metals, but also organic compounds, such as carboxylic acids, can damage cells survival. Thus, the second experimental part of this thesis deals with inhibition studies on pure culture of M. maripaludis in closed batch cultivation. Despite the potential applications of M. maripaludis, the knowledge surrounding this strain runs out of lab-scale studies concerning the physiology and toxicology of heavy metals and VFAs. Therefore, M. maripaludis growth and productivity were tested by using copper (Cu), zinc (Zn), acetate (Ac) and propionic acid (Pr) as potential inhibitors of microbial activity. The culture was totally inhibited at concentration of 30, 70 and 100 mgL-1 of Cu and 0.7 and 1 gL-1 of Zn. However, M. maripaludis shows tolerance to 3, 7 and 10 mgL-1 of Cu with different extent. The addition of 0.3 gL-1 of Zn to the medium, rather promoted the biomass build-up of M. maripaludis and cancelled the effect of Cu when used together in the medium. In this study, it has been supported that the inhibition by Cu is due to a reduced or suppressed activity of the CODH/ACS complex producing acetyl-CoA intermediate. Acetyl-CoA is the precursor of many metabolic subsystems (e.g. lipid, amino acids, nucleotides pathways) and its alteration would interfere with them. While CODH/ACS activity is supported by CO2 and methanogenesis intermediate, the other way to produce acetyl-CoA is based on the acetate:CoA ligase. The relevance and the tolerance to rising concentrations of Ac and Pr was also investigated and quantified via HPLC analysis. Concentration of 5 and 10 mgL-1 of acetate did not inhibit nor growth neither productivity. Interestingly, the deprivation of acetate not only impacted on the growth rate but also on methanogenesis in M. maripaludis. In absence of Ac, the same concentrations of Pr caused a slow-down of the growth, while productivity was not touched. This study sheds light on the individual and combined impact of Cu, Zn, acetate and propionic acid on the metabolism of M. maripaludis. Furthermore, an attempt to define a possible mechanism which regulates specific acetate capture is provided in this study and the relevance of acetate:CoA ligase respect to CODH/ACS complex for acetyl-CoA synthesis is herein discussed. The information collected in this study are essential to improve the process efficiency of CO2 conversion to CH4 and extend the knowledge on the physiology of certain compounds. The tendency of these methanogens to adapt to adverse conditions, most of the time, offers the possibility to improve the engineering aspects of a limited process toward an unlimited one. Moreover, as a future activity, this thesis proposed the use of a 10-bar pressure bioreactor which has been projected in the frame of the Ph.D. research with a view to improving the success of biological CH4 production.