Journal articles on the topic 'Albany County (N.Y.) in art'

AbstractObjective:To assess the energy and nutrient intakes of healthy infants from low-income families and to compare intakes with current recommendations.Design:We interviewed mother–infant pairs longitudinally when the infants were 3, 6, 9, 12, 18 and 24 months old. Food intake data were obtained by 24-hour dietary recalls. Selected nutrient intakes were calculated and compared with the Recommended Dietary Allowances (RDAs).Subjects/setting:Infants (n = 200) were the offspring of low-income, pregnant women recruited at the Albany County Department of Health, New York for the Albany Pregnancy and Infancy Lead Study, a prospective investigation of factors related to blood lead levels, including nutrition. Interviews were conducted during paediatric clinic visits.Statistical analyses performed:Means and standard deviations were used to describe energy and micronutrient intakes for age groups. The probability approach was utilised to examine the prevalence of inadequate intakes.Results:Mean energy and nutrient intakes generally met or exceeded the RDA. The exceptions were vitamin D and zinc for which observed means were below the RDA at several data points. Protein consumption was exceptionally high in this sample. The highest estimated prevalences of inadequate intakes were observed for iron, zinc and vitamin D at the older ages.Conclusions:This study identified several potential concerns about the diets of infants during the transition from infant food and formula to table foods. Low intakes of vitamin D, zinc and iron, especially at 12 and 18 months, were observed. High protein intakes were noted at all ages.

Dobrovol'skaya Nadezhda was born in 1878 in Kiev province. After graduating with a gold medal of the women's gymnasium in Kiev Women's medical Institute in Petrograd, worked as an Intern in the clinic of Professor M. S. Subbotin (1902-1904), later a country doctor . 1907 – the assistant to the dissector, assistant Professor of Women's medical Institute (until 1917), supernumeraries medical surgical Academy in Petrograd (from 1914). Since 1911 – a doctor of medicine. In 1912 N.. A. suggested method of joining vessels of different diameter, "end-to-end" crossing them obliquely; I applied the hair to perform a vascular suture. 24 APR 1917 N..Dobrovolskaya apply in Tartu University about acceptance as a privatdozent at the Department of surgery. 14 Oct 1918 – the Board of the University of Voronezh electing her to the chair of surgical pathology with the dressing and the doctrine about dislocations and fractures of the medical faculty and became the first woman to lead the Department of surgery. In 1919, she described the symptom that got her name – a decrease in heart rate when Paltseva the compression of the artery proximal to arteriovenous fistula. To link their fate with the Soviet authorities she did not dare, and soon left Voronezh. N.. Dobrovolskaya served as a doctor in Wrangel's army, which retreated in the Crimea and were evacuated to Egypt (1920-1922). In 1921 N.. Take the art to the newly opened in France, the laboratory organised by the Pasteur Institute and the radium Institute (later, the Institute Curie), which was first headed by Professor Claude REGO, and then N.. Dobrovolskaya. It describes the brachyury mutation in mice is becoming one of the pioneers in understanding the development of the body as changes in gene expression, creates several pure lines of mice as models of human diseases. Nadezhda was a member of the boards of the society of Russian doctors of Mechnikov, Russian academic group, Russian section of the International Federation of University women, Association of Russian doctors abroad. Collaborated in the Brotherhood of the Martyr Albania and St. Sergius. N.. Dobrovolska has authored over one hundred scientific papers. In 1937 she was awarded the French Academy of Sciences for research in the field of hereditary cancer. In 1954, at the age of 76 N..Dobrovolskaya is dead.

In China, rock art is spread mainly in the border regions – carvings and engravings in the north of the country and paintings in the south. Before the beginning of the 21st century, research books and albums of petroglyphs were published in four administrative units at provincial level in the north-west of the county: Inner Mongolia, Ningxia, Xinjiang and Qinghai. Petroglyphs of Inner Mongolia were studied and published by Gai Shanlin, Liang Zhenhua and N. Dalengurib. The earliest and the latest books by Gai Shanlin available to us (published in 1985 and 2002 respectively) were entirely devoted to the interpretation of rock carvings and searches for their analogies. All four monographs on Ningxia rock art – by Zhou Xinghua, Li Xiangshi and Zhu Cunshi, Xu Cheng and Wei Zhong were published almost simultaneously, at the beginning of the 1990s. Ancient rock art of Xinjiang was published in albums by Zhao Yangfeng, Wang Linshan and Wang Bo and in books by Wang Binghua and Su Beihai. The monograph by Tang Huisheng and Zhang Wenhua was devoted to the description of Qinghai petroglyphs and the problems of their interpretation. The album of photos “The Rock Arts of China” is a kind of a guide to the main rock art sites known by 1993 in all the Chinese provinces. Generally, it can be stated that modern Chinese scientific rock art research was born in the first half of the 1980s, when the first articles on rock carvings started to appear in Chinese archaeological periodicals and flourished in the second half of the 1980s and the 1990s, when quite a number of monographs were published.

Abstract Introduction: Stroger Hospital (CCH) and the Ruth M. Rothstein CORE Center (CC) are the largest health providers for HIV+ patients (pts) in Chicago and one of the largest HIV clinics in the United States. CCH/CC treat approximately 5,000 HIV+ individuals per year and 40 newly diagnosed HIV-associated cancers annually. The CHAMP Study was originally a retrospective database from 1990 to 2010 of all clinical, demographic, cancer characteristics of pts diagnosed with HIV/AIDS. Since then, the study has compiled data prospectively on all pts with hematological malignancies. In this study, we analyzed various characteristics of pts with HIV/AIDS diagnosed with lymphoma as well as changes seen over time including therapy response since the implementation of combined anti-retroviral therapy (cART). In addition, we assessed variables including drug use, psychiatric history (hx) and time of HIV diagnosis (dx) with respect to cancer presentation. While large population studies of HIV and cancer exist, few studies specifically examine the largest growing HIV demographic, the inner-city HIV population. Methods: Patient's HIV and cancer clinical, laboratory, and survival data were compiled from the CHAMP database. Psychiatric hx and social factors including drug use and time of HIV dx were also analyzed by retrospective chart review and compared between racial and gender groups as well as differences and overall survival (OS). Survival data was examined using Kaplan-Meier analysis and Cox Proportional Hazards model. Statistical comparisons between different groups were performed via the Fisher's exact test. Results: Between 1995-2018, 226 lymphoma pts were identified spanning 26 diagnoses. Fifty-nine percent, 28%, and 11% were African American (AA), Hispanic, and Caucasian, respectively. The cohort was 87% male. The median age by disease ranged from 35-45. Categorized by cancer type; 32% were diffuse large B-cell lymphoma (DLBCL; n=72), 22.5% classic Hodgkin lymphoma (cHL; n=32), 13% Burkitt lymphoma (BL; n=29), 6.7% primary CNS lymphoma (PCNSL; n=15), and 5% plasmablastic lymphoma (PBL; n=11). Seventy-eight percent of pts presented with stage III/IV disease. CD4+ T cell count (CD4) at dx varied by disease, with the median CD4 count ranging from 19 for PCNSL to 260 cells/µL in cHL. DLBCL pts treated with DAEPOCHR (n=23) had a 5-year OS of 80% vs. 68% treated with CHOPR (n=35; p=0.4). cHL had a 5-year OS of 76%. PBL and BL had a 10-year OS of 62% and 58%, respectively. Cases of cHL decreased from 48% of all lymphomas in 2012 (n=8) to 9% in 2017 (p<0.01) while the incidence of BL dropped from 38% in 2004 to 0-10% in 2015-2017. PBL was diagnosed only twice before 2013 to on average of 20% of all lymphomas diagnosed from 2014-17. As a whole, 22% of pts were diagnosed with HIV/AIDS at time of lymphoma dx. Moreover, 13/21 (62%) of Hispanics, 9/41 (22%) AA and 3/11 (30%) Caucasians (p<0.007) with DLBCL and 5/6 (83%) Hispanic vs. 3/18 (18%) AA pts with BL were diagnosed with HIV/AIDS at dx (P<0.007). While Hispanics with DLBCL were more likely to be diagnosed with HIV at lymphoma dx, there was no difference in OS at 5 years, 76% vs. 75%, when stratified by those presenting with compared to those without a known hx of HIV infection. Furthermore, 11/43 (26%) AA DLBCL pts had a hx or known psychiatric disorder compared to 0/20 (0%) Hispanic pts (p<0.037). Men 26/59 (44%) vs. 8/10 (80%) women DLBCL pts had hx of known drug use (p=0.036). No difference in OS by drug use, type of drug, alcohol use, or psychiatric hx was identified in the DLBCL cohort. Conclusions: HIV/AIDS-associated lymphoma in the inner-city remains an AA, male dominated disease, a clear disparity compared to the US HIV/cancer population. Dissimilar to national trends, a statistical decrease in cases of cHL and BL has been noticed over time with a concomitant elevation in PBL. Outcomes for DLBCL were improved with DAEPOCHR compared to CHOPR. Wh en analyzed by race, the majority of Hispanics with lymphoma were diagnosed with HIV at the time of dx, statistically significant, over AA and Caucasians. AA also demonstrated a statistically significant increase in psychiatric hx compared to other races. These findings could explain why 78% of our lymphoma cohort present with advanced stage disease. Combining efforts in prevention/screening of HIV and drug use and providing psychological interventions could help improve outcomes for Hispanics and AA beyond that made with improved therapies. Disclosures No relevant conflicts of interest to declare.

References STUDY QUESTION Do children born after assisted reproductive technology (ART) have an increased risk of developing type 1 diabetes? SUMMARY ANSWER Children born after ART were found to have an increased risk of type 1 diabetes in the unadjusted analysis, while after adjustment this association was only significant in children born after frozen embryo transfer. WHAT IS KNOWN ALREADY? Some studies raise concerns as to whether fertility treatments may influence long-term morbidity in children born after ART. Elevated blood pressure and altered glucose metabolism have been found after ART in a few studies. STUDY DESIGN, SIZE, DURATION A register-based national cohort study that included all children born in Sweden between 1985 and 2015—in total, 3 138 540 children—was carried out. PARTICIPANTS/MATERIAL, SETTING, METHODS The study was population-based and all live-born singleton children born after ART (n = 47 938) or spontaneous conception (SC) (n = 3 090 602) were included. The ART cohort comprised 36 727 children born after fresh embryo transfer and 11 211 children born after frozen embryo transfer. Several national registries were used together with data from Statistics Sweden. MAIN RESULTS AND THE ROLE OF CHANCE In total, 202 children born after ART and 17 916 children born after SC developed type 1 diabetes, corresponding to 43.4 and 35.5 per 100 000 person-years at risk (hazard ratio [HR] 1.23; 95% confidence interval [CI], 1.07 to 1.42). Mean follow-up was 9.7 (SD 6.4) years for ART children and 16.3 (SD 9.2) years for SC children. After adjustment for calendar year of birth, HR for type 1 diabetes was 1.13; 95% CI, 0.98–1.30. After further adjustment for sex, maternal age, country of birth, educational level, smoking and parental diabetes, HR was 1.07; 95% CI, 0.93–1.23. In subgroup analyses, an association was found between frozen embryo transfer and type 1 diabetes (adjusted HR 1.52; 95% CI, 1.08–2.14 and 1.41; 95% CI, 1.05–1.89 for frozen versus fresh and frozen versus SC, respectively). When comparing intracytoplasmic sperm injection to in vitro fertilization, no difference was found (adjusted HR 1.08; 95% CI, 0.77–1.51). LIMITATIONS, REASONS FOR CAUTION Limitations were the missing data and residual confounding caused by unknown confounders. Furthermore, the control group consisted of all children not conceived by ART and not non-ART children from subfertile mothers. The study was also performed in only singletons and not in the total ART population. WIDER IMPLICATIONS OF THE FINDINGS Type 1 diabetes is a serious disease, affecting human life in several ways, including risk of serious complications, reduced life span and a life-long treatment. Our results are generally reassuring, showing no increase in diabetes in ART children compared to children born after SC after adjustment for relevant confounders. The observation of an association between children born after frozen embryo transfer and type 1 diabetes, although based on subgroup analyses with a limited number of children and modest in size, is however a reason for concern. STUDY FUNDING/COMPETING INTEREST(S) This study was funded by Nordforsk 71450, the Swedish state under the agreement between the Swedish government and the county councils, the ALF-agreement 70940, and the Hjalmar Svensson Foundation. The authors have no competing interests. TRIAL REGISTRATION NUMBER ISRCTN 11780826.

Purpose: The purpose of this study was to ascertain the effect of frequency of text messaging on perceived self-efficacy for treatment among people living with HIV/AIDS in Homa Bay County. Methodology: The study used a quasi-experimental design. This involved a control and an intervention group to assess the effect of the text messaging. Data was collected using an interview schedule for participants and questionnaires for key informant interview. The study triangulated quantitative and qualitative data. Results shared in this paper are for the intervention group. Spearman’s rho correlations and simple linear regression models were used to estimate the relationship between the independent variable (frequency of messages) and the dependent variable (self-efficacy), and ANOVA test was done to test the hypothesis and presented in tables and graphs. Qualitative data was analyzed thematically and narratives are provided under each section in verbatim. Findings: The desired sample size for the intervention group was 317. Out which the study achieved 77.92 percent (n=247). Frequency of messages, did not yield a statistically significant relationship on perceived self-efficacy for appointment adherence (p<0.52; CI=95 per cent). However, receiving messages on a monthly basis had a significant but relatively week, inverse relationship with perceived self-efficacy (C= -0.181; p<0.02 ;< 0.05,). Qualitative findings established the messages were not boring Unique Contribution to Theory, Practice and Policy: Frequency of messages may depend on other factors such as type and content of messages being sent. Individual characteristics such as the social environment, level of education and general interest of HIV information and ART adherence may also influence the frequency of messages. Mobile interventions should ensure that the right number of required messages is sent to patients for optimum utilization and achievement of the desired outcomes.

PurposeThe Uppsala–Stockholm Assisted Reproductive Techniques (UppStART) study is a prospectively recruited sample of couples undergoing assisted reproduction in Stockholm and Uppsala county in Sweden. The study was initiated to (1) investigate possible changes in the epigenetic profile of infants inferred through the ART procedures and their consequence and (2) to assess the impact of lifestyle and health exposures on treatment outcome.ParticipantsRecruitment took place between September 2011 and December 2013, and in vitro fertilisation (IVF) cycles initiated and pregnancies conceived during this time were followed until December 2014. The cohort includes 971 participants (n= 514 women; n= 457 men), and 129 pregnancies were achieved from the first IVF cycle included in the study.Findings to dateSelf-reported demographic, health and lifestyle data were collected from a baseline questionnaire, and to assess changes to lifestyle, a follow-up questionnaire was issued at the time of oocyte retrieval, and at subsequent IVF cycles. Questionnaire data were linked to data extracted from medical records. Biological samples were collected at baseline: blood for extraction of serum, plasma and DNA, morning and evening saliva samples for cortisol measurement and at delivery including samples of maternal blood, placenta and amniotic fluid, and cord blood for epigenetic analysis.Future plansThrough the unique identification number assigned to each Swedish citizen at birth or immigration, UppStART study participants will be linked to the Swedish population-based national and quality registers to provide data from prenatal, obstetrical, neonatal and infant care, and subsequent updates will provide data on childhood health and educational outcomes. Collaboration and use of UppStART data is encouraged, and more information about access can be found at www.ki.se/meb/uppstart

-Leslie G. Desmangles, Joan Dayan, Haiti, history, and the Gods. Berkeley: University of California Press, 1995. xxiii + 339 pp.-Barry Chevannes, James T. Houk, Spirits, blood, and drums: The Orisha religion in Trinidad. Philadelphia: Temple University Press, 1995. xvi + 238 pp.-Barry Chevannes, Walter F. Pitts, Jr., Old ship of Zion: The Afro-Baptist ritual in the African Diaspora. New York: Oxford University Press, 1993. xvi + 199 pp.-Robert J. Stewart, Lewin L. Williams, Caribbean theology. New York: Peter Lang, 1994. xiii + 231 pp.-Robert J. Stewart, Barry Chevannes, Rastafari and other African-Caribbean worldviews. London: Macmillan, 1995. xxv + 282 pp.-Michael Aceto, Maureen Warner-Lewis, Yoruba songs of Trinidad. London: Karnak House, 1994. 158 pp.''Trinidad Yoruba: From mother tongue to memory. Tuscaloosa: University of Alabama Press, 1996. xviii + 279 pp.-Erika Bourguignon, Nicola H. Götz, Obeah - Hexerei in der Karibik - zwischen Macht und Ohnmacht. Frankfurt am Main: Peter Lang, 1995. 256 pp.-John Murphy, Hernando Calvo Ospina, Salsa! Havana heat: Bronx Beat. London: Latin America Bureau, 1995. viii + 151 pp.-Donald R. Hill, Stephen Stuempfle, The steelband movement: The forging of a national art in Trinidad and Tobago. Philadelphia: University of Pennsylvania Press, 1995. xx + 289 pp.-Hilary McD. Beckles, Jay R. Mandle ,Caribbean Hoops: The development of West Indian basketball. Langhorne PA: Gordon and Breach, 1994. ix + 121 pp., Joan D. Mandle (eds)-Edmund Burke, III, Lewis R. Gordon ,Fanon: A critical reader. Oxford: Blackwell, 1996. xxi + 344 pp., T. Denean Sharpley-Whiting, Renée T. White (eds)-Keith Alan Sprouse, Ikenna Dieke, The primordial image: African, Afro-American, and Caribbean Mythopoetic text. New York: Peter Lang, 1993. xiv + 434 pp.-Keith Alan Sprouse, Wimal Dissanayake ,Self and colonial desire: Travel writings of V.S. Naipaul. New York : Peter Lang, 1993. vii + 160 pp., Carmen Wickramagamage (eds)-Yannick Tarrieu, Moira Ferguson, Jamaica Kincaid: Where the land meets the body: Charlottesville: University Press of Virginia, 1994. xiii + 205 pp.-Neil L. Whitehead, Vera Lawrence Hyatt ,Race, discourse, and the origin of the Americas: A new world view. Washington DC: Smithsonian Institution Press, 1995. xiii + 302 pp., Rex Nettleford (eds)-Neil L. Whitehead, Patricia Seed, Ceremonies of possession in Europe's conquest of the new world, 1492-1640. Cambridge: Cambridge University Press, 1995. viii + 199 pp.-Livio Sansone, Michiel Baud ,Etnicidad como estrategia en America Latina y en el Caribe. Arij Ouweneel & Patricio Silva. Quito: Ediciones Abya-Yala, 1996. 214 pp., Kees Koonings, Gert Oostindie (eds)-D.C. Griffith, Linda Basch ,Nations unbound: Transnational projects, postcolonial predicaments, and deterritorialized nation-states. Langhorne PA: Gordon and Breach, 1994. vii + 344 pp., Nina Glick Schiller, Cristina Szanton Blanc (eds)-John Stiles, Richard D.E. Burton ,French and West Indian: Martinique, Guadeloupe and French Guiana today. Charlottesville: University Press of Virginia; London: Macmillan Caribbean, 1995. xii + 202 pp., Fred Réno (eds)-Frank F. Taylor, Dennis J. Gayle ,Tourism marketing and management in the Caribbean. New York: Routledge, 1993. xxvi + 270 pp., Jonathan N. Goodrich (eds)-Ivelaw L. Griffith, John La Guerre, Structural adjustment: Public policy and administration in the Caribbean. St. Augustine: School of continuing studies, University of the West Indies, 1994. vii + 258 pp.-Luis Martínez-Fernández, Kelvin A. Santiago-Valles, 'Subject People' and colonial discourses: Economic transformation and social disorder in Puerto Rico, 1898-1947. Albany: State University of New York Press, 1994. xiii + 304 pp.-Alicia Pousada, Bonnie Urciuoli, Exposing prejudice: Puerto Rican experiences of language, race, and class. Boulder: Westview Press, 1996. xiv + 222 pp.-David A.B. Murray, Ian Lumsden, Machos, Maricones, and Gays: Cuba and homosexuality. Philadelphia: Temple University Press, 1996. xxvii + 263 pp.-Robert Fatton, Jr., Georges A. Fauriol, Haitian frustrations: Dilemmas for U.S. policy. Washington DC: Center for strategic & international studies, 1995. xii + 236 pp.-Leni Ashmore Sorensen, David Barry Gaspar ,More than Chattel: Black women and slavery in the Americas. Bloomington: Indiana University Press, 1996. xi + 341 pp., Darlene Clark Hine (eds)-A. Lynn Bolles, Verene Shepherd ,Engendering history: Caribbean women in historical perspective. Kingston: Ian Randle; London: James Currey, 1995. xxii + 406 pp., Bridget Brereton, Barbara Bailey (eds)-Bridget Brereton, Mary Turner, From chattel slaves to wage slaves: The dynamics of labour bargaining in the Americas. Kingston: Ian Randle; Bloomington: Indiana University Press; London: James Currey, 1995. x + 310 pp.-Carl E. Swanson, Duncan Crewe, Yellow Jack and the worm: British Naval administration in the West Indies, 1739-1748. Liverpool: Liverpool University Press, 1993. x + 321 pp.-Jerome Egger, Wim Hoogbergen, Het Kamp van Broos en Kaliko: De geschiedenis van een Afro-Surinaamse familie. Amsterdam: Prometheus, 1996. 213 pp.-Ellen Klinkers, Lila Gobardhan-Rambocus ,De erfenis van de slavernij. Paramaribo: Anton de Kom Universiteit, 1995. 297 pp., Maurits S. Hassankhan, Jerry L. Egger (eds)-Kevin K. Birth, Sylvia Moodie-Kublalsingh, The Cocoa Panyols of Trinidad: An oral record. London & New York: British Academic Press, 1994. xiii + 242 pp.-David R. Watters, C.N. Dubelaar, The Petroglyphs of the Lesser Antilles, the Virgin Islands and Trinidad. Amsterdam: Foundation for scientific research in the Caribbean region, 1995. vii + 492 pp.-Suzannah England, Mitchell W. Marken, Pottery from Spanish shipwrecks, 1500-1800. Gainesville: University Press of Florida, 1994. xvi + 264 pp.

Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of professional theater for children, take in account its growing popularity, both in the world and in Ukrainian musical culture. The lack of scientific research that fully and comprehensively cover the scientific and practical significance of musical children’s plays by Marko Kropyvnytskyi for the development of musical children’s theater in Ukraine indicates the need for more in-depth researching of the chosen topic. In our research, we rely on the works and articles of authoritative experts – in particular, I. Franko (1910), M. Voronyi (1913), D. Antonovich (1925), P. Rulin (1929), I. Mar’ianenko (1953), P. Kyrychok (1985), N. Yosipenko (1958), P. Perepelitsa (1956), A. Novikov (2007; 2011), L. Moroz (1990). The vast majority of researchers noted the great merits of the artist to the national drama in particular and Ukrainian culture in general. Among the scientific works devoted to Kropyvnytskyi as a children’s playwright, one can distinguish the research by A. Novikov (2007), which focuses on the history of creation of the first children’s troupe in the country, which had no analogues in the history of the world theater, since the actors in it were peasant children. In mentioned critical and scientific works, the innovative features of the playwright’s creative heritage are outlined, attention is focused on the specifics of the genre and problem-thematic range, literary-aesthetic, socio-political, and pedagogical views. The literary and theatrical activity of M. Kropyvnytskyi has been thoroughly studied. However, there is still no work that comprehensively reveal his musical and dramatic creativity for children. The purpose of the article is to show the significant role of M. Kropyvnytskyi in the development of children’s musical theater in Ukraine based on the research of children’s musical and dramatic creativity by the artist. The research methodology is integrative. The work uses knowledge of various fields of art history and related sciences: history and theory of theater, music theory, music and theater psychology, vocal and theater pedagogy. Presentation of the main material. A great pride of the playwright is the foundation by him on the territory of his village Zatyshok of the children’s theater, “actors” in which were his own and peasant children. This event was and remains unprecedented, since nothing like this has been observed in the history of Ukrainian and European culture. The troupe consisted of peasant children aged 10–13. For performances, Kropyvnytskyi assigned the largest room (hall) in the old house, where, as in a real theater, the stage was equipped. The first performance, “Goat-Dereza” (“Koza-dereza”), took place on Christmas day, 1906. The playwright drew the scenery himself, and prepared the costumes together with the children. The play was a great success. A few days later, the children’s troupe was invited to a “tour” in the neighboring village, and the entire theater with the scenery on five carts went on a journey of six versts (Novikov, 2007: 33). In the children’s repertoire at that time, there was, in fact, only one work – the opera by M. Lysenko “Goat-Dereza” (“Koza-dereza”) (libretto by Dniprova Chaika). Ukrainian children’s repertoire did not exist at that time, and in 1907, Kropyvnytskyi created two plays for young performers based on folk tales – “Ivasyk-Telesyk” and “At the behest of the pike” (“Po shchuchomu velinniu”). The performances included vocal numbers composed by M. Kropyvnytskyi on the themes of Ukrainian folk melodies. In a letter to his good friend entrepreneur A. Suslov in January 1908, the writer, in particular, notes: “I have assembled a troupe of peasant children and I am staging in the villages: Goat-dereza, IvasykTelesyk, and At the behest of the pike (the latter both are my)” (Kropyvnytskyi, 1960: 530). Based on the plot of folk tales of the same name, he wrote original musical and dramatic works for children of great educational value. The plays are quite simple in meaning and clearly depict the images of all the negative and positive characters. The first represent such social vices as lies and insincerity, and the second are carriers of eternal positive qualities – sincerity, candor, hard work. The plays are written in an exquisite Ukrainian language, close to the oral poetic creativity. All this, as M. Yosypenko rightly notes, is evidence of “a serious approach of M. Kropyvnytskyi to the business of writing plays for children, a deep knowledge of the psychology of the young audience and its cultural and educational needs and demands” (Yosypenko, 1958: 265). The performances require participation of music, which organic include into the language range of the play itself. Music explains and complements the true meaning of the situation to the young audience. Ukrainian musical folklore material formed the basis of the musical solution of M. Kropyvnytskyi’s children’s performances. Most often, folk songs served as a means to create the image and were introduce before the dramatic action mainly by the method of self-presentation: performing a particular song, the characters showed certain traits of their nature. The songs help to reveal the inner world of the characters, to express their state of mind and moods; often they contributed to the creation of the necessary stage atmosphere: festivities, fun and jokes. A significant part of the characters could not be imagined without songs. Using some folk melodies, Kropyvnytskyi mainly wrote original music, close in melody to the folk-song sources. Solo numbers, ensembles, and choirs are organically woven into the dramaturgy of these plays. A clear reflection of the integrity and unity of the musical and dramatic process is the principle of end-to-end development of the main musical idea of performances. In preparation for productions of his children’s plays, Kropyvnytskyi wrote an orchestration for them also. Intending to put these plays on the professional stage, Kropyvnytskyi wrote down advice to future directors regarding the production of their children’s plays. He began to think of broader horizons for them. In the spring of 1910, small artists had to show their art to the audience of the neighboring county town Kupyansk. However, the premature death of the Ukrainian playwright did not allow this plan to be realized. The children’s troupe soon ceased to exist. Kropyvnytskyi children’s troupe and the repertoire he created for it became a prologue to the development of the Ukrainian theater’s creativity for young viewers. In nowadays from the repertoire do not go off the pearls of drama for children “Ivasik-Telesik’ and “At the behest of the pike”. Conclusions. Marko Kropyvnytskyi’s creative heritage and practical activities wrote the gold pages to the history of Ukrainian musical children’s drama and Ukrainian children’s theater. Children’s musical and dramatic works of the writer based on song folklore are the effective mean to educate positive attitude of young Ukrainians to folk tradition as well as to form positive nature traits: generosity, hospitality, goodwill, charity.

The present article involves a qualitative study of the framing of dementia in ‘Alzheimer’s and Dementia’, the Journal of the Alzheimer’s Association, published in 2016. The aim of this study is to elucidate how dementia is framed qualitatively in the corpus consisting of scientific articles involving dementia published in ‘Alzheimer’s and Dementia’. The results of the qualitative analysis indicate that dementia is represented in ‘Alzheimer’s and Dementia’ in 2016 as the frames associated with gender, age, costs, caregiver and care-recipients, disability and death, health policy, spatial orientation, medical condition, and ethnic groups. These findings are further discussed in the article. References Andrews, J. (2011). We need to talk about dementia. Journal of Research in Nursing, 16(5),397–399. Aronowitz, R. (2008). Framing Disease: An Underappreciated Mechanism for the SocialPatterning Health. Social Science & Medicine, 67, 1–9. Bayles, K. A. (1982). Language function in senile dementia. Brain and language, 16(2),265–280. Bednarek, M. A. (2005). Construing the world: conceptual metaphors and event construals innews stories. Metaphorik.de, 9, 1–27. Brookmeyer, R., Kawas, C. H., Abdallah, N., Paganini-Hill, A., Kim, R. C., & M.M. Corrada(2016). Impact of interventions to reduce Alzheimer’s disease pathology on the prevalence ofdementia in the oldest-old. Alzheimer’s & Dementia, 12(3), 225–232. Burgers, C., Konijn, E., & G. Steen. (2016). Figurative Framing: Shaping Public DiscourseThrough Metaphor, Hyperbole, and Irony. Communication Theory, 26(4)410–430. Carolan, J. (2016). Using a Framing Analysis to Elucidate Learning from a Pedagogy ofStudent-Constructed Representations in Science. In Using Multimodal Representations toSupport Learning in the Science Classroom. Switzerland: Springer. Chen, J. C., Espeland, M. A., Brunner, R. L., Lovato, L. C., Wallace, R. B., Leng, X., Phillips,L.S., Robinson, J.G., Kotchen, J.M., Johnson, K.C., Manson, J. E., Stefanick, M.L., Sato, G.E.,& W.J. Mysiw (2016). Sleep duration, cognitive decline, and dementia risk in older women.Alzheimer’s & Dementia, 12(1), 21–33. Cornejo, R., Brewer, R., Edasis, C., & A.M. Piper (2016). Vulnerability, Sharing, and Privacy:Analyzing Art Therapy for Older Adults with Dementia. In Proceedings of the 19th ACMConference on Computer-Supported Cooperative Work & Social Computing (pp. 1572–1583).ACM. Davis, D. H. (2004). Dementia: sociological and philosophical constructions. Social Science &Medicine, 58(2), 369–378. Delva, F., Touraine, C., Joly, P., Edjolo, A., Amieva, H., Berr, C., Helmer, C., Rouaud, O.,Peres, K., & J. F. Dartigues (2016). ADL disability and death in dementia in a Frenchpopulation-based cohort: New insights with an illness-death model. Alzheimer’s & Dementia,12 (8), 909–916. Entman, R. M. (1993). Framing: Toward clarification of a fractured paradigm. Journal ofCommunication, 43(4), 51–58. Entman, R. M. (2004). Projections of power: Framing news, public opinion, and US foreignpolicy. University of Chicago Press. Entman, R. M. (2007). Framing bias: Media in the distribution of power. Journal ofcommunication, 57(1), 163–173. Gao, S., Ogunniyi, A., Hall, K. S., Baiyewu, O., Unverzagt, F. W., Lane, K. A., Murrell, J. R.,Gureje, O., Hake, A. M., & H. C. Hendrie (2016). Dementia incidence declined in AfricanAmericans but not in Yoruba. Alzheimer’s & Dementia, 12(3), 244–251. Gauthier, S., Albert, M., Fox, N., Goedert, M., Kivipelto, M., Mestre-Ferrandiz, J., &L. T. Middleton (2016). Why has therapy development for dementia failed in the last twodecades?. Alzheimer’s & Dementia, 12(1), 60–64. Gilmour, J. A., & Brannelly, T. (2010). Representations of people with dementia–subaltern,person, citizen. Nursing inquiry, 17(3), 240–247. Green, C. & Zhang, S. (2016). Predicting the progression of Alzheimer’s disease dementia:A multimodal health policy model. Alzheimer’s & Dementia, 12, 776–785. Giudice, D. L., Smith, K., Fenner, S., Hyde, Z., Atkinson, D., Skeaf, L., Malay, R., &L. Flicker (2016). Incidence and predictors of cognitive impairment and dementia in AboriginalAustralians: A follow-up study of 5 years. Alzheimer’s & Dementia, 12(3), 252–261. Górska, S., Forsyth, K., & Maciver, D. (2017). Living With Dementia: A Meta-synthesis ofQualitative Research on the Lived Experience. The Gerontologist, 0, 1–17. Innes, A. (2002). The social and political context of formal dementia care provision. Ageingand Society, 22(04), 483–499. Jensen-Dahm, C., Gasse, C., Astrup, A., Mortensen, P. B., & G. Waldemar (2015). Frequentuse of opioids in patients with dementia and nursing home residents: A study of the entireelderly population of Denmark. Alzheimer’s & Dementia, 11(6), 691–699. Joris, W., d’Haenens, L., & B. Van Gorp. (2014). The euro crisis in metaphors and frames.Focus on the press in the Low Countries. European Journal of Communication, 29(5),608–617. Kapranov, O. (2016). The Framing of Serbia’s EU Accession by the British Foreign Office onTwitter. Tekst i Dyskurs. Text und Diskurs, 9, 67–80. Kaufman, S. R. (1994). Old age, disease, and the discourse on risk: Geriatric assessment in UShealth care. Medical Anthropology Quarterly, 8(4), 430–447. Kunutsor, S., & Laukkanen, J. (2016). Gamma glutamyltranserase and risk of future dementiain middle-aged to older Finnish men: A new prospective cohort study. Alzheimer’s &Dementia, 12, 931–941. Lawless, M., & Augoustinos, M. (2017). Brain health advice in the news: managing notions ofindividual responsibility in media discourse on cognitive decline and dementia. QualitativeResearch in Psychology, 14(1), 62–80. Llorens, F., Schmitz, M., Karch, A., Cramm, M., Lange, P., Gherib, K., Varges, D., Schmidt,C., Zerr, I., & K. Stoeck (2016). Comparative analysis of cerebrospinal fluid biomarkers in thedifferential diagnosis of neurodegenerative dementia. Alzheimer’s & Dementia, 12(5),577–589. Mayeda, E. R., Glymour, M. M., Quesenberry, C. P., & R.A. Whitmer (2016). Inequalities indementia incidence between six racial and ethnic groups over 14 years. Alzheimer’s &Dementia, 12(3), 216–224. Paradis, C. (2010). Good, better and superb antonyms: a conceptual construal approach. Theannual texts by foreign guest professors, 3, 385–402. Parker, J. (2001). Interrogating person-centred dementia care in social work and social carepractice. Journal of Social Work, 1(3), 329–345. Peel, E. (2014). ‘The living death of Alzheimer’s’ versus ‘Take a walk to keep dementia atbay’: representations of dementia in print media and carer discourse. Sociology of health &illness, 36(6), 885–901. Ramirez, J., McNeely, A. A., Scott, C. J., Masellis, M., & S. E. Black (2016). White matterhyperintensity burden in elderly cohort studies: The Sunnybrook Dementia Study, Alzheimer’sThe Framing of Dementia in Scientific Articles Published in Alzheimer’ Disease Neuroimaging Initiative, and Three-City Study. Alzheimer’s & Dementia, 12(2),203–210. Rattinger, G., Fauth, E., Behrens, S., Sanders, C., Schwartz, S., Norton, M. C., Corcoran, C.,Mullins, C. D., Lyketsos, C., & J. T. Tschanz (2016). Closer caregiver and care-recipientrelationships predict lower informal costs of dementia care: The Cache County DementiaProgression Study. Alzheimer’s & Dementia, 12, 917–924. Shash, D., Kurth, T., Bertrand, M., Dufouil, C., Barberger-Gateau, P., Berr, C., Ritchie, K.,Dartigues, J.-F., Begaud, B., Alperovitch, A., & C. Tzourio (2016). Benzodiazepine,psychotropic medication, and dementia: A population-based cohort study. Alzheimer’s &Dementia, 12(5), 604–613. Swacha, K. Y. (2017). Older Adults as Rhetorical Agents: A Rhetorical Critique of Metaphorsfor Aging in Public Health Discourse. Rhetoric Review, 36(1), 60–72. Teipel, S., Babiloni, C., Hoey, J., Kaye, J., Kirste, T., & O.K. Burmeister (2016). Informationand communication technology solutions for outdoor navigation in dementia. Alzheimer’s &Dementia, 12(6), 695–707. Touri, M. & Koteyko, N. (2015). Using corpus linguistic software in the extraction of newsframes: towards a dynamic process of frame analysis in journalistic texts. InternationalJournal of Social Research Methodology, 18(6), 601–616. Van Gorp, B., & Vercruysse, T. (2012). Frames and counter-frames giving meaning todementia: A framing analysis of media content. Social Science & Medicine, 74(8), 1274–1281. Verlinden, V. J., van der Geest, J. N., de Bruijn, R. F., Hofman, A., Koudstaal, P. J., &M. A. Ikram (2016). Trajectories of decline in cognition and daily functioning in preclinicaldementia. Alzheimer’s & Dementia, 12(2), 144–153. Wray, A. (2017). The language of dementia science and the science of dementia language:Linguistic interpretations of an interdisciplinary research field. Journal of Language andSocial Psychology, 36(1), 80–95. Wu, Y. T., Fratiglioni, L., Matthews, F. E., Lobo, A., Breteler, M. M., Skoog, I., & C. Brayne(2016). Dementia in western Europe: epidemiological evidence and implications for policymaking. The Lancet Neurology, 15(1), 116–124. Yuan, J., Zhang, Z., Wen, H., Hong, X., Hong, Z., Qu, Q., Li, H., & J.L. Cummings (2016).Incidence of dementia and subtypes: A cohort study in four regions in China. Alzheimer’s &Dementia, 12(3), 262–271. Zwijsen, S. A., van der Ploeg, E., & C.M. Hertogh (2016). Understanding the world ofdementia. How do people with dementia experience the world?. Internationalpsychogeriatrics/IPA, 1–11.

Abstract STUDY QUESTION Is there a relation between ART and DNA methylation (DNAm) patterns in cord blood, including any differences between IVF and ICSI? SUMMARY ANSWER DNAm at 19 CpGs was associated with conception via ART, with no difference found between IVF and ICSI. WHAT IS KNOWN ALREADY Prior studies on either IVF or ICSI show conflicting outcomes, as both widespread effects on DNAm and highly localized associations have been reported. No study on both IVF and ICSI and genome-wide neonatal DNAm has been performed. STUDY DESIGN, SIZE, DURATION This was a cross-sectional study comprising 87 infants conceived with IVF or ICSI and 70 conceived following medically unassisted conception. The requirement for inclusion in the study was an understanding of the Swedish language and exclusion was the use of donor gametes. PARTICIPANTS/MATERIALS, SETTING, METHODS Participants were from the UppstART study, which was recruited from fertility and reproductive health clinics, and the Born into Life cohort, which is recruited from the larger LifeGene study. We measured DNAm from DNA extracted from cord blood collected at birth using a micro-array (450k array). Group differences in DNAm at individual CpG dinucleotides (CpGs) were determined using robust linear models and post-hoc Tukey’s tests. MAIN RESULTS AND THE ROLE OF CHANCE We found no association of ART conception with global methylation levels, imprinted loci and meta-stable epialleles. In contrast, we identify 19 CpGs at which DNAm was associated with being conceived via ART (effect estimates: 0.5–4.9%, PFDR &lt; 0.05), but no difference was found between IVF and ICSI. The associated CpGs map to genes related to brain function/development or genes connected to the plethora of conditions linked to subfertility, but functional annotation did not point to any likely functional consequences. LIMITATIONS, REASONS FOR CAUTION We measured DNAm in cord blood and not at later ages or in other tissues. Given the number of tests performed, our study power is limited and the findings need to be replicated in an independent study. WIDER IMPLICATIONS OF THE FINDINGS We find that ART is associated with DNAm differences in cord blood when compared to non-ART samples, but these differences are limited in number and effect size and have unknown functional consequences in adult blood. We did not find indications of differences between IVF and ICSI. STUDY FUNDING/COMPETING INTEREST(S) E.W.T. was supported by a VENI grant from the Netherlands Organization for Scientific Research (91617128) and JPI-H2020 Joint Programming Initiative a Healthy Diet for a Healthy Life (JPI HDHL) under proposal number 655 (PREcisE Project) through ZonMw (529051023). Financial support was provided from the European Union’s Seventh Framework Program IDEAL (259679), the Swedish Research Council (K2011-69X-21871-01-6, 2011-3060, 2015-02434 and 2018-02640) and the Strategic Research Program in Epidemiology Young Scholar Awards, Karolinska Institute (to A.N.I.) and through the Swedish Initiative for Research on Microdata in the Social And Medical Sciences (SIMSAM) framework grant no 340-2013-5867, grants provided by the Stockholm County Council (ALF-projects), the Strategic Research Program in Epidemiology at Karolinska Institutet and the Swedish Heart-Lung Foundation and Danderyd University Hospital (Stockholm, Sweden). The funders had no role in study design, data collection, analysis, decision to publish or preparation of the manuscript. The authors declare no competing interests. TRIAL REGISTRATION NUMBER N/A.

A Site for the Study of Ambience Deep in Melbourne’s subterranean belly lies a long, dark space dedicated to screen-based art. Built along disused train platforms, it’s even possible to hear the ghostly rumblings and clatter of trains passing alongside the length of the gallery on quiet days. Upon descending the single staircase leading into this dimly-lit space, visitors encounter a distinctive sensory immersion. A flicker of screens dapple the windowless vastness ahead, perhaps briefly highlighting entrances into smaller rooms or the faintly-outlined profiles of visitors. This space often houses time-based moving image artworks. The optical flicker and aural stirrings of adjacent works distract, luring visitors’ attention towards an elsewhere. Yet on other occasions, this gallery’s art is bounded by walls, private enclosures which absorb perceptions of time into the surrounding darkness. Some works lie dormant awaiting visitors’ intervention, while others rotate on endless loops, cycling by unheeded, at times creating an environment of visual and aural collision. A weak haze of daylight falls from above mid-way through the space, marking the gallery’s only exit – an escalator fitted with low glowing lights. This is a space of thematic and physical reinvention. Movable walls and a retractable mezzanine enable the 110 metre long, 15 metre wide and almost 10 metre high space to be reformed with each exhibition, as evidenced by the many exhibitions that this Screen Gallery has hosted since opening as a part of the Australian for the Moving Image (ACMI) in 2002. ACMI endured controversial beginnings over the public funds dedicated to its gallery, cinemas, public editing and games labs, TV production studio, and screen education programs. As media interrogation of ACMI’s role and purpose intensified, several pressing critical and public policy questions surfaced as to how visitors were engaging with and valuing this institution and its spaces. In this context, I undertook the first, in depth qualitative study of visitation to ACMI, so as to address these issues and also the dearth of supporting literature into museum visitation (beyond broad, quantitative analyses). Of particular interest was ACMI’s Screen Gallery, for it appeared to represent something experientially unique and historically distinctive as compared to museums and galleries of the past. I therefore undertook an ethnographic study of museum visitation to codify the expression of ACMI’s institutional remit in light of the modalities of its visitors’ experiences in the Gallery. This rich empirical material formed the basis of my study and also this article, an ethnography of the Screen Gallery’s ambience. My study was undertaken across two exhibitions, World without End and White Noise (2005). While WWE was thematically linear in its charting of the dawn of time, globalisation and apocalypse, visitor interaction was highly non-linear. The moving image was presented in a variety of forms and spaces, from the isolation of works in rooms, the cohabitation of the very large to very small in the gallery proper, to enclosures created by multiple screens, laser-triggered interactivity and even plastic bowls with which visitors could ‘capture’ projections of light. Where heterogeneity was embraced in WWE, WN offered a smoother and less rapturous environment. It presented works by artists regarded as leaders of recent practices in the abstraction of the moving image. Rather than recreating the free exploratory movement of WWE, the WN visitor was guided along one main corridor. Each work was situated in a room or space situated to the right-hand side of the passageway. This isolation created a deep sense of immersion and intimacy with each work. Low-level white noise was even played across the Gallery so as to absorb the aural ‘bleed’ from neighbouring works. For my study, I used qualitative ethnographic techniques to gather phenomenological material, namely longitudinal participant observation and interviews. The observations were conducted on a fortnightly basis for seven months. I typically spent two to three hours shadowing visitors as they moved through the Gallery, detailing patterns of interaction; from gross physical movement and speech, to the very subtle modalities of encounter: a faint smile, a hesitation, or lapsing into complete stillness. I specifically recruited visitors for interviews immediately after their visit so as to probe further into these phenomenological moments while their effects were still fresh. I also endeavoured to capture a wide cross-sample of responses by recruiting on the basis of age, gender and reason for visitation. Ten in-depth interviews (between 45 minutes and one hour) were undertaken, enquiring into the factors influencing impressions of the Gallery, such as previous museum and art experiences, and opinions about media art and technology. In this article, I particularly draw upon my interviews with Steven, Fleur, Heidi, Sean, Trevor and Mathew. These visitors’ commentaries were selected as they reflect upon the overall ambience of the Gallery–intimate recollections of moving through darkness and projections of light–rather than engagement with individual works. When referring to ambience, I borrow from Brian Eno’s 1978 manifesto of Ambient Music, as it offers a useful analogy for assessing the complexity within subtle aesthetic experiences, and more specifically, in a spatial environment generated by electronic means. An ambience is defined as an atmosphere, or a surrounding influence: a tint…Whereas the extant canned music companies proceed from the basis of regularizing environments by blanketing their acoustic and atmospheric idiosyncrasies, Ambient Music is intended to enhance these. Whereas conventional background music is produced by stripping away all sense of doubt and uncertainty (and thus all genuine interest) from the music, Ambient Music retains these qualities. And whereas their intention is to ‘brighten’ the environment by adding stimulus to it… Ambient Music is intended to induce calm and a space to think…Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting. (Eno, "Ambient Music")While Eno’s definition specifically discusses a listening space, it is comparable to the predominantly digital and visual gallery environment as it elicits similar states of attention, such as calm reflection, or even a peaceful emptying of thoughts. I propose that ACMI’s darkened Screen Gallery creates an exploratory space for such intimate, bodily, subjective experiences. I firstly locate this study within the genealogical context of visitor interaction in museum exhibition environments. We then follow the visitors through the Gallery. As the nuances of their journey are presented, I assess the significance of an alternate model for presenting art which encourages ‘active’ aesthetic experience by privileging ambiguity and subtlety–yet heightened interactivity–and is similar to the systemic complexity Eno accords his Ambient Music. Navigating Museums in the Past The first public museums appeared in the context of the emerging liberal democratic state as both a product and articulation of the early stages of modernity in the nineteenth century. Museum practitioners enforced boundaries by prescribing visitors’ routes architecturally, by presenting museum objects within firm knowledge categories, and by separating visitors from objects with glass cabinets. By making their objects publicly accessible and tightly governing visitors’ parameters of spatial interaction, museums could enforce a pedagogical regulation of moral codes, an expression of ‘governmentality’ which constituted the individual as both a subject and object of knowledge (Bennett "Birth", Culture; Hooper-Greenhill). The advent of high modernism in the mid-twentieth century enforced positivist doctrines through a firm direction of visitor movement, exemplified by Le Corbusier’s Musée à Croissance Illimitée (1939) and Frank Lloyd Wright’s Guggenheim Museum in New York (1959) (Davey 36). In more recent stages of modernity, architecture has attempted to reconcile the singular authority imposed by a building’s design. Robert Venturi, a key theorist of post-modern architecture, argued that the museum’s pedagogical failure to achieve social and political reforms was due to the purist and universalist values expressed within modern architecture. He proposed that post-modern architecture could challenge aesthetic modernism with a playful hybridity which emphasises symbolism and sculptural forms in architecture, and expresses a more diverse set of pluralist ideologies. Examples might include Hans Hollein’s Abteiberg Museum (1972-1982), or the National Museum of Australia in Canberra (2001). Contemporary attempts to design museum interactions reflect the aspirations of the ‘new museum.’ They similarly address a pluralist agenda, but mediate increasingly individualised forms of participation though highly interactive technological interfaces (Message). Commenting about art galleries, Lev Manovich greets this shift with some pessimism. He argues that the high art of the ‘white cube’ gallery is now confronting its ‘ideological enemy’, the ‘black box’, a historically ‘lower’ art form of cinema theatre (10). He claims that the history of spatial experimentation in art galleries is being reversed as much moving image art has been exhibited using a video projection in a darkened room, thereby limiting visitor participation to earlier, static forms of engagement. However, he proposes that new technologies could have an important presence and role in cultural institutions as an ‘augmented space’, in which layers of data overlay physical space. He queries whether this could create new possibilities for spatial interaction, such that cultural institutions might play a progressive role in exploring new futures (14). The Screen Gallery at ACMI embodies the characteristics of the ‘new museum’ as far as it demands multiple modalities of participation in a technological environment. It could perhaps also be regarded an experimental ‘black box’ in that it houses multiple screens, yet, as we shall see, elicits participation unbefitting of a cinema. We therefore turn now to examine visitors’ observations of the Gallery’s design, thereby garnering the experiential significance of passage through a moving image art space. Descending into Darkness Descending the staircase into the Gallery is a process of proceeding into shadows. The blackened cavity (fig. 1) therefore looms ahead as a clear visceral departure from the bustle of Federation Square above (fig. 2), and the clean brightness of ACMI’s foyer (fig. 3). Figure 1: Descent into ACMI's Screen Gallery Figure 2: ACMI at Federation Square, Melbourne Figure 3: ACMI’s foyer One visitor, Fleur, described this passage as a sense of going “deep underground,” where the affective power of darkness overwhelmed other sensory details: “I can’t picture it in my mind – sort of where the gallery finishes… And it’s perfect, it’s dark, and it’s… quiet-ish.” Many visitors found that an entrance softened by shadows added a trace of suspense to the beginnings of their journey. Heidi described how, “because it’s dark and you can’t actually see the people walking about… it’s a little bit more mysterious.” Fleur similarly remarked that “you’re not quite sure what you’re going to meet when you go around. And there’s a certain anticipation.” Steven found that the ambiguity surrounding the conventions of procedure through Gallery was “quite interesting, that experience of being a little bit unsure of where you’re going or not being able to see.” He attributed feelings of disorientation to the way the deep shadows of the Gallery routinely obscured measurement of time: “it’s that darkness that makes it a place where it’s like a time sync… You could spend hours in there… You sort of lose track of time… The darkness kind of contributes to that.” Multiple Pathways The ambiguity of the Gallery compelled visitors to actively engage with the space by developing their own rules for procedure. For example, Sean described how darkness and minimal use of signage generated multiple possibilities for passage: “you kind of need to wander through and guide yourself. It’s fairly dark as well and there aren’t any signs saying ‘Come this way,’ and it was only by sort of accident we found some of the spaces down the very back. Because, it’s very dark… We could very well have missed that.” Katrina similarly explained how she developed a participatory journey through movement: “when you first walk in, it just feels like empty space, and not exactly sure what’s going on and what to look at… and you think nothing is going on, so you have to kind of walk around and get a feel for it.” Steven used this participatory movement to navigate. He remarked that “there’s a kind of basic ‘what’s next?’… When you got down you could see maybe about four works immediately... There’s a kind of choice about ‘this is the one I’ll pay attention to first’, or ‘look, there’s this other one over there – that looks interesting, I might go and come back to this’. So, there’s a kind of charting of the trip through the exhibition.” Therefore while ambiguous rules for procedure undermine traditional forms of interaction in the museum, they prompted visitors to draw upon their sensory perception to construct a self-guided and exploratory path of engagement. However, mystery and ambiguity can also complicate visitors’ sense of self determination. Fleur noted how crossing the threshold into a space without clear conventions for procedure could challenge some visitors: “you have to commit yourself to go into a space like that, and I think the first time, when you’re not sure what’s down there… I think people going there for the first time would probably… find it difficult.” Trevor found this to be the case, objecting that “the part that doesn’t work, is that it doesn’t work as a space that’s easy to get around.” These comments suggest that an ‘unintended consequence’ (Beck) of relaxing contemporary museum conventions to encourage greater visitor autonomy, can be the contrary effect of making navigation more difficult. Visitors struggling to negotiate these conditions may find themselves subject to what Daniel Palmer terms the ‘paradox of user control’, in which contemporary forms of choice prove to be illusory, as they inhibit an individual’s freedom through ‘soft’ forms of domination. The ambiguity created by the Gallery’s darkness therefore brings two disparate – if not contradictory – tendencies together, as concluded by Fleur: “The darkness is – it’s both an advantage and a disadvantage… You can’t sort of see each other as well, but there’s also a bit of freedom in that. In that it sort of goes both ways.” A Journey of Subtle Cues Several strategies to ameliorate disorienting navigation experiences were employed in the Screen Gallery, attempting to create new possibilities for meaningful interaction. Some reflect typical curatorial conventions, such as mounting didactic panels along walls and strategically placing staff as guides. However, visitors frequently eschewed these markers and were instead drawn powerfully to affective conventions, including the shadings of light and sound. Sean noted how small beacons of light at foot level were prominent features, as they illuminated the entrances to rooms and corridors: “That’s your over-whelming impression, because it’s dark and there’s just these feature spotlights… and they’re an interesting device, because they sort of lead your eye through the space as well, and say ‘oh that’s where the next event is, there’s a spotlight over there’.” The luminescence of artworks served a similar purpose, for within “the darkness, the boundaries are less visible, and… you’re drawn to the light, you know, you’re drawn to those screens.” He found that directional sound above artworks also created a comparable effect: “I was aware of the fact that things were quiet until you approached the right spot and obviously it’s where the sound was focussed.” These conventions reflect what Trini Castelli calls ‘soft design’, by which space is made cohesively sensual (Glibb in Mitchell 87-88). The Gallery uses light and sound to fashions this visceral ‘feeling’ of spatial continuity, a seamless ambience. Paul described how this had a pleasurable effect, where the “atmosphere of the space” created “a very nice place to be… Lots of low lighting.” Fleur similarly recalled lasting somatic impressions: “It’s a bit like a cave, I suppose… The atmosphere is so different… it’s warm, I find it quite a relaxing place to be, I find it quite calm…Yeah, it has that feeling of private space to it.” Soft design therefore tempers the spatial severity of museums past through this sensuous ‘participatory environment.’ Interaction with art therefore becomes, as Steven enthused, “an exhibition experience” where “it’s as much (for me) the experience of moving between works as attending to the work itself… That seems really prominent in the experience, that it’s not these kind of isolated, individual works, they’re in relation to each other.” Disruptions to this experiential continuity – what Eno had described as a ‘stimulus’ – were subject to harsh judgement. When asked why he preferred to stand against the back wall of a room, rather than take a seat on the chairs provided, Matthew protested that “the spotlight was on those frigging couches, who wants to sit there? That would’ve been horrible.” Visitors clearly expressed a preference towards a form of spatial interaction in which curatorial conventions heighten, rather than detract from, the immersive dynamic of the museum environment. They showed how the feelings of ambiguity and suspense which absorbed them in the Gallery’s entrance gradually began to dissipate. In their place, a preference arose for conventions which maintained the Gallery’s immersive continuity, and where cues such as focused sound and footlights had a calming effect, and created a cohesive sensual journey through the dark. The Ambience of Art Space Visitors’ comments acquire an additional significance when examined in light of Eno’s earlier definition of what he called Ambient Music. He suggested that even in relative stillness, there exists a capacity for active forms of listening which create a “space to think” and generate a “quiet interest.” In addition, and perhaps most importantly, these active forms of listening are augmented by the “atmospheric idiosyncrasies” which are derived from conditions of uncertainty. As I have shown, the darkened Screen Gallery obscures the rules for visitor participation and consequently elicits doubt and hesitation. Visitors must self-navigate and be guided by sensory perception, responding to the kinaesthetic touch of light on skin and the subtle drifts of sound to constructing a journey through the enveloping darkness. This spatial ambience can therefore be understood as the specific condition which make the Gallery a fertile site for new exchanges between visitors, artworks and curation within the museum. Arjun Mulder defines this kind of dynamism in architectural space as a form of systemic interactivity, the “default state of any living system,” in the way that any system can be considered interactive if it links into, and affects change upon another (Mulder 332). Therefore while museums have historically been spaces for interaction, they have not always been interactive spaces in the sense described by Mulder, where visitor participation and processes of exchange are heightened by the conditions of ambience, and can compel self-determined journeys of visitor enquiry and feelings of relaxation and immersion. ACMI’s Screen Gallery has therefore come to define its practices by heightening these forms of encounter, and elevating the affective possibilities for interacting with art. Traditional museum conventions have been challenged by playing with experiential dynamics. These practices create an ambience which is particular to the gallery, and historically unlike the experiential ecologies of preceding forms of museum, gallery or moving space, be it the white cube or a simple ‘black box’ room for video projections. This perhaps signifies a distinctive moment in the genealogy of the museum, indicating how one instance of an art environment’s ambience can become a rubric for new forms of visitor interaction. References Beck, Ulrich. “The Reinvention of Politics: Towards a Theory of Reflexive Modernization.” Reflexive Modernization: Politics, Tradition and Aesthetics in the Modern Social Order. Eds. Ulrich Beck, Anthony Giddens, and Scott Lash. Cambridge: Politics, 1994. 1-55. Bennett, Tony. The Birth of the Museum: History, Theory, Politics. London; New York: Routledge. 1995. ———. “Culture and Governmentality.” Foucault, Cultural Studies and Governmentality. Eds. J.Z. Bratich, J. Packer, and C. McCarthy. Albany: State University of New York Press, 2003. 47-64. Davey, Peter. “Museums in an N-Dimensional World.” The Architectural Review 1242 (2000): 36-37. Eno, Brian. “Resonant Complexity.” Whole Earth Review (Summer 1994): 42-43. ———. “Ambient Music.” A Year with Swollen Appendices: The Diary of Brian Eno. London: Faber and Faber, 1996. 293-297. Hooper-Greenhill, Eileen. “Museums and Education for the 21st Century.” Museum and Gallery Education. London: Leicester University Press, 1991. 187-193. Manovich, Lev. “The Poetics of Augmented Space: Learning from Prada.” 27 April 2010 ‹http://creativetechnology.salford.ac.uk/fuchs/modules/creative_technology/architecture/manovich_augmented_space.pdf›. Message, Kylie. “The New Museum.” Theory, Culture and Society: Special Issue on Problematizing Global Knowledge. Eds. Mike Featherstone, Couze Venn, and Ryan Bishop, John Phillips. Thousand Oaks, CA: Sage, 2006. 603-606. Mitchell, T. C. Redefining Designing: From Form to Experience. New York: Van Nostrand Reinhold, 1993. Mulder, Arjun. “The Object of Interactivity.” NOX: Machining Architecture. London: Thames and Hudson, 2004. 332-340. Palmer, Daniel. “The Paradox of User Control.” Melbourne Digital Art and Culture 2003 Conference Proceedings. Melbourne: RMIT, 2003. 167-172. Venturi, Robert. Complexity and Contradiction in Architecture. New York: Museum of Modern Art, 1966.

"(W)hen you look at the historic angle of what’s going on, DJ culture is the future, everything is a mix. Whether it’s video, electronic shit, studio shit, painting, you name it, the psychology is in place. It’s the DJ." – Paul D. Miller, AKA DJ Spooky, qtd. in Tobin "Turn it up! Bring the noise." – Public Enemy, "Bring the Noise "Turn down that damned noise!!!" Thus began the nightly negotiation with my father during my adolescence — him firmly rooted in his recliner as he stared at the television, me locked in my bedroom, fingers nudging the stereo knobs to experiment with acceptable volumes. It was never, "turn down the music," or "lower that Boogie Down Productions album," it was always, "turn down that damned noise!!!" I hear his words echoed daily in the attitudes of many of the pre-service teachers that I work with as they navigate the tumultuous maelstrom of education in postmodern culture. Perhaps my students merely reveal legacies of their own educational experiences, or perhaps they embody the transitional dissonance of an epochal shift. Regardless of the "origin" of their discomfort, they seem to turn to those of us engaged in preparing them as teachers to sanitise the "mess" they encounter in schools. They desire Skinnerian behaviorist reductionism (if "x" then "y"). They seek to tame the "noise" of the extraordinarily complex endeavor of teaching and learning. I fiddle with the volume knob of my own teaching, crank it up, and offer them hip hop pedagogies.1 By hip hop pedagogies I do not mean simply the inclusion of hip hop culture (e.g., DJing, rapping, graffiti art, dancing) as objects of study in the classroom, although these are indeed worthwhile curricular considerations. Instead of dominant modes of schooling which are informed by a factory model of efficiency and knowledge transmission (Adams et al.), I suggest a fundamental reorientation to pedagogies guided by the aesthetics of hip hop culture, particularly the power of recombinant textuality embodied in hip hop’s "noisy mix." Dick Hebdige locates the origins, as diffuse as they are, of hip hop music in the fundamental nature of the mix, noting that "(r)ap is DJ (disc jockey) and MC (Master of Ceremonies or Microphone Controller) music . . . (I)t relies on pre-recorded sounds. . . . The hip hoppers "stole" music off air and cut it up. Then they broke it down into its component parts and remixed it on tape" (141). Paul Miller identifies the possibilities inherent in such processes: DJ culture – urban youth culture – is all about recombinant potential. It has as a central feature a eugenics of the imagination. Each and every source is fragmented and bereft of prior meaning – kind of like a future without a past. The samples are given meaning only when re-presented in the assemblage of the mix (7) In hip hop, mixing occurs within discursive realities of "noise." Tricia Rose notes that the "sonic power" of hip hop, with its "distinctive bass-heavy, enveloping sound does not rest outside of its musical and social power" (63). She summarizes the significance of this sonic barrage: "Noise" on the one hand and communal countermemory on the other, rap music conjures and razes in one stroke. Rap's rhythms . . . are its most powerful effect. Rap's primary focus is sonic . . . Rap music centers on the quality and nature of rhythm and sound, the lowest, "fattest beats" being the most significant and emotionally charged . . . The arrangement and selection of sounds rap musicians have invented via samples, turntables, tape machines, and sound systems are at once deconstructive (in that they actually take apart recorded musical compositions) and recuperative (because they recontextualise these elements creating new meanings for cultural sounds that have been relegated to commercial wastebins) . . . (64-65 Herein lies one of the most transformative possibilities of hip hop pedagogies – the model it offers as a recombinant text, as a mix. Miller explains: It is in this singularly improvisational role of "recombiner" that the DJ creates what I like to call a "post symbolic mood sculpture," or the mix; a disembodied and transient text . . . The implications of this style of creating art are three fold: 1) by its very nature it critiques the entire idea of intellectual property and copyright law, 2) it reifies a communal art value structure in contrast to most forms of art in late capitalist social contexts, 3) it interfaces communications technology in a manner that anthropomorphisizes it. (12-13 If we were to begin thinking of our classrooms/schools as a mix, as recombinant, fluid texts where the copyrighting privilege of authority in the guise of "teacher" is challenged, where the entire process of teaching and learning becomes communal, and where human/technological cyborgs are valued, we can see how hip hop pedagogies might be transformative. The classroom might become, in my favorite image of postmodern education that William Doll borrows from Milan Kundera and Richard Rorty, a "fascinating imaginative realm where no one owns the truth and everyone has the right to be understood" (151). Such pedagogical orientations toward the mix invite students to reject modernist attempts to channel and control learning – to "school" the body and mind. Instead, as Potter notes, "hip-hop aims for a world made hole, aporic, fracturing the fragmented, graffiti on graffiti" (8, emphasis in original). Instead of the master narratives of modernity, it "offers us a model . . . as it produces knowledge in the active consumption of the everyday materials the world makes available . . . it is a work which instructs in its process, indeed, by its process" (Block 339). Is this not a better way to envision our work in schools, which Pinar et al. see as ultimately an engagement with larger conversations of what it means to prepare the next generation (847)? Such mixing infuses life into pedagogies as meanings are reassembled, and acknowledges a "new paradigm" that does "not necessarily require new data, but rather (is) characterized by clever and substantively different ways of recasting what we already know" (Samples 187). "The previous meanings," Miller concludes, are "corralled into a space where the differences in time, place, and culture, are collapsed to create a recombinant text or autonomous zone of expression" (14). Hip hop pedagogies offer such "zones" of hybrid selves, hybrid cultures, and hybrid conversations that are recombined continually through collisions with cultures, histories, and technologies. So that’s the noisy mix I share with my students as most salient to postmodern education – cacophonous, turbulent, and sure to infuriate my father, even now. Notes 1. I follow Gore in her use of the plural form of pedagogy: "(Pedagogies) use is important to signify the multiple approaches and practices that fall under the pedagogy umbrella" whereas "rely(ing) on the singular form is to imply greater unity and coherence than is warranted" (7). References Adams, Natalie et al. Learning to Teach: A Critical Approach to Field Experiences. Mahwah, N.J.: Lawrence Erlbaum, 1998. Block. Alan. (1998). "Curriculum as Affichiste: Popular Culture and Identity." Curriculum: Toward New Identities. Ed. William F. Pinar. New York: Garland, 325-341. Doll, William E., Jr. A Postmodern Perspective on Curriculum. New York: Teachers College, 1993. Gore, J. The Struggle for Pedagogies: Critical and Feminist Discourses as Regimes of Truth. New York: Routledge, 1993. Hebdige, Dick. Cut-n-Mix: Culture, Identity and Caribbean Music. London: Methuen, 1987. Miller, Paul D. "Flow My Blood the DJ Said." Liner notes from Song of a Dead Dreamer. New York: Asphodel, 1995. Pinar, William F. et al. Understanding Curriculum: An Introduction to the Study of Historical and Contemporary Curriculum Discourses. New York: Peter Lang, 1995. Potter Russell A. Spectacular Vernaculars: Hip-Hop and the Politics of Postmodernism. Albany: SUNY, 1995. Public Enemy. It Takes A Nation Of Millions To Hold Us Back. New York: Def Jam Recordings, 1988. Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover, N.H.: UP of New England, 1994. Samples, Bob. "Learning as Transformation." Education, Information, and Transformation: Essays on Learning and Thinking. Ed. Jeffrey Kane. Upper Saddle River, N.J.: Merrill, 1999. Tobin, Sam. "Permutations: A Conversation with Paul D. Miller, AKA DJ Spooky." Digress Magazine. [12, March 2001].<http://www.digressmagazine.com/1spooky.php>

Our culture abhors the world.Yet Quicksand is swallowing the duellists; the river is threatening the fighter: earth, waters and climate, the mute world, the voiceless things once placed as a decor surrounding the usual spectacles, all those things that never interested anyone, from now on thrust themselves brutally and without warning into our schemes and manoeuvres (Michel Serres, The Natural Contract, p 3). When Michel Serres describes culture's abhorrence of the world in the opening pages of The Natural Contract he draws our attention to the sidelining of nature in histories and theories that have sought to describe Western culture. As Serres argues, cultural histories are quite often built on the debates and struggles of humanity, which are largely held apart from their natural surroundings, as if on a stage, "purified of things" (3). But, as he is at pains to point out, human activity and conflict always take place within a natural milieu, a space of quicksand, swelling rivers, shifting earth, and atmospheric turbulence. Recently, via the potential for vast environmental change, what was once thought of as a staid “nature” has reasserted itself within culture. In this paper I explore how Serres’s positioning of nature can be understood amid new communication systems, which, via the apparent dematerialization of messages, seems to have further removed culture from nature. From here, I focus on a set of artworks that work against this division, reformulating the connection between information, a topic usually considered in relation to media and anthropic communication (and something about which Serres too has a great deal to say), and nature, an entity commonly considered beyond human contrivance. In particular, I explore how information visualisation and sonification has been used to give a new sense of materiality to the atmosphere, repotentialising the air as a natural and informational entity. The Natural Contract argues for the legal legitimacy of nature, a natural contract similar in standing to Rousseau’s social contract. Serres’ss book explores the history and notion of a “legal person”, arguing for a linking of the scientific view of the world and the legal visions of social life, where inert objects and living beings are considered within the same legal framework. As such The Natural Contract does not deal with ecology per-se, but instead focuses on an argument for the inclusion of nature within law (Serres, “A Return” 131). In a drastic reconfiguring of the subject/object relationship, Serres explains how the space that once existed as a backdrop for human endeavour now seems to thrust itself directly into history. "They (natural events) burst in on our culture, which had never formed anything but a local, vague, and cosmetic idea of them: nature" (Serres, The Natural Contract 3). In this movement, nature does not simply take on the role of a new object to be included within a world still dominated by human subjects. Instead, human beings are understood as intertwined with a global system of turbulence that is both manipulated by them and manipulates them. Taking my lead from Serres’s book, in this paper I begin to explore the disconnections and reconnections that have been established between information and the natural environment. While I acknowledge that there is nothing natural about the term “nature” (Harman 251), I use the term to designate an environment constituted by the systematic processes of the collection of entities that are neither human beings nor human crafted artefacts. As the formation of cultural systems becomes demarcated from these natural objects, the scene is set for the development of culturally mediated concepts such as “nature” and “wilderness,” as entities untouched and unspoilt by cultural process (Morton). On one side of the divide the complex of communication systems is situated, on the other is situated “nature”. The restructuring of information flows due to developments in electronic communication has ostensibly removed messages from the medium of nature. Media is now considered within its own ecology (see Fuller; Strate) quite separate from nature, except when it is developed as media content (see Cubitt; Murray; Heumann). A separation between the structures of media ecologies and the structures of natural ecologies has emerged over the history of electronic communication. For instance, since the synoptic media theory of McLuhan it has been generally acknowledged that the shift from script to print, from stone to parchment, and from the printing press to more recent developments such as the radio, telephone, television, and Web2.0, have fundamentally altered the structure and effects of human relationships. However, these developments – “the extensions of man” (McLuhan)— also changed the relationship between society and nature. Changes in communications technology have allowed people to remain dispersed, as ideas, in the form of electric currents or pulses of light travel vast distances and in diverse directions, with communication no longer requiring human movement across geographic space. Technologies such as the telegraph and the radio, with their ability to seemingly dematerialize the media of messages, reformulated the concept of communication into a “quasi-physical connection” across the obstacles of time and space (Clarke, “Communication” 132). Prior to this, the natural world itself was the medium through which information was passed. Rather than messages transmitted via wires, communication was associated with the transport of messages through the world via human movement, with the materiality of the medium measured in the time it took to cover geographic space. The flow of messages followed trade flows (Briggs and Burke 20). Messages moved along trails, on rail, over bridges, down canals, and along shipping channels, arriving at their destination as information. More recently however, information, due to its instantaneous distribution and multiplication across space, seems to have no need for nature as a medium. Nature has become merely a topic for information, as media content, rather than as something that takes part within the information system itself. The above example illustrates a separation between information exchange and the natural environment brought about by a set of technological developments. As Serres points out, the word “media” is etymologically related to the word “milieu”. Hence, a theory of media should be always related to an understanding of the environment (Crocker). But humans no longer need to physically move through the natural world to communicate, ideas can move freely from region to region, from air-conditioned room to air-conditioned room, relatively unimpeded by natural forces or geographic distance. For a long time now, information exchange has not necessitated human movement through the natural environment and this has consequences for how the formation of culture and its location in (or dislocation from) the natural world is viewed. A number of artists have begun questioning the separation between media and nature, particularly concerning the materiality of air, and using information to provide new points of contact between media and the atmosphere (for a discussion of the history of ecoart see Wallen). In Eclipse (2009) (fig. 1) for instance, an internet based work undertaken by the collective EcoArtTech, environmental sensing technology and online media is used experimentally to visualize air pollution. EcoArtTech is made up of the artist duo Cary Peppermint and Leila Nadir and since 2005 they have been inquiring into the relationship between digital technology and the natural environment, particularly regarding concepts such as “wilderness”. In Eclipse, EcoArtTech garner photographs of American national parks from social media and photo sharing sites. Air quality data gathered from the nearest capital city is then inputted into an algorithm that visibly distorts the image based on the levels of particle pollution detected in the atmosphere. The photographs that circulate on photo sharing sites such as Flickr—photographs that are usually rather banal in their adherence to a history of wilderness photography—are augmented by the environmental pollution circulating in nearby capital cities. Figure 1: EcoArtTech, Eclipse (detail of screenshot), 2009 (Internet-based work available at:http://turbulence.org/Works/eclipse/) The digital is often associated with the clean transmission of information, as packets of data move from a server, over fibre optic cables, to be unpacked and re-presented on a computer's screen. Likewise, the photographs displayed in Eclipse are quite often of an unspoilt nature, containing no errors in their exposure or focus (most probably because these wilderness photographs were taken with digital cameras). As the photographs are overlaid with information garnered from air quality levels, the “unspoilt” photograph is directly related to pollution in the natural environment. In Eclipse the background noise of “wilderness,” the pollution in the air, is reframed as foreground. “We breathe background noise…Background noise is the ground of our perception, absolutely uninterrupted, it is our perennial sustenance, the element of the software of all our logic” (Serres, Genesis 7). Noise is activated in Eclipse in a similar way to Serres’s description, as an indication of the wider milieu in which communication takes place (Crocker). Noise links the photograph and its transmission not only to the medium of the internet and the glitches that arise as information is circulated, but also to the air in the originally photographed location. In addition to noise, there are parallels between the original photographs of nature gleaned from photo sharing sites and Serres’s concept of a history that somehow stands itself apart from the effects of ongoing environmental processes. By compartmentalising the natural and cultural worlds, both the historiography that Serres argues against and the wilderness photograph produces a concept of nature that is somehow outside, behind, or above human activities and the associated matter of noise. Eclipse, by altering photographs using real-time data, puts the still image into contact with the processes and informational outputs of nature. Air quality sensors detect pollution in the atmosphere and code these atmospheric processes into computer readable information. The photograph is no longer static but is now open to continual recreation and degeneration, dependent on the coded value of the atmosphere in a given location. A similar materiality is given to air in a public work undertaken by Preemptive Media, titled Areas Immediate Reading (AIR) (fig. 2). In this project, Preemptive Media, made up of Beatriz da Costa, Jamie Schulte and Brooke Singer, equip participants with instruments for measuring air quality as they walked around New York City. The devices monitor the carbon monoxide (CO), nitrogen oxides (NOx) or ground level ozone (O3) levels that are being breathed in by the carrier. As Michael Dieter has pointed out in his reading of the work, the application of sensing technology by Preemptive Media is in distinct contrast to the conventional application of air quality monitoring, which usually takes the form of extremely high resolution located devices spread over great distances. These larger air monitoring networks tend to present the value garnered from a large expanse of the atmosphere that covers individual cities or states. The AIR project, in contrast, by using small mobile sensors, attempts to put people in informational contact with the air that they are breathing in their local and immediate time and place, and allows them to monitor the small parcels of atmosphere that surround other users in other locations (Dieter). It thus presents many small and mobile spheres of atmosphere, inhabited by individuals as they move through the city. In AIR we see the experimental application of an already developed technology in order to put people on the street in contact with the atmospheres that they are moving through. It gives a new informational form to the “vast but invisible ocean of air that surrounds us and permeates us” (Ihde 3), which in this case is given voice by a technological apparatus that converts the air into information. The atmosphere as information becomes less of a vague background and more of a measurable entity that ingresses into the lives and movements of human users. The air is conditioned by information; the turbulent and noisy atmosphere has been converted via technology into readable information (Connor 186-88). Figure 2: Preemptive Media, Areas Immediate Reading (AIR) (close up of device), 2011 Throughout his career Serres has developed a philosophy of information and communication that may help us to reframe the relationship between the natural and cultural worlds (see Brown). Conventionally, the natural world is understood as made up of energy and matter, with exchanges of energy and the flows of biomass through food webs binding ecosystems together (DeLanda 120-1). However, the tendencies and structures of natural systems, like cultural systems, are also dependent on the communication of information. It is here that Serres provides us with a way to view natural and cultural systems as connected by a flow of energy and information. He points out that in the wake of Claude Shannon’s famous Mathematical Theory of Communication it has been possible to consider the relationship between information and thermodynamics, at least in Shannon’s explanation of noise as entropy (Serres, Hermes74). For Serres, an ecosystem can be conceptualised as an informational and energetic system: “it receives, stores, exchanges, and gives off both energy and information in all forms, from the light of the sun to the flow of matter which passes through it (food, oxygen, heat, signals)” (Serres, Hermes 74). Just as we are related to the natural world based on flows of energy— as sunlight is converted into energy by plants, which we in turn convert into food— we are also bound together by flows of information. The task is to find new ways to sense this information, to actualise the information, and imagine nature as more than a welter of data and the air as more than background. If we think of information in broad ranging terms as “coded values of the output of a process” (Losee 254), then we see that information and the environment—as a setting that is produced by continual and energetic processes—are in constant contact. After all, humans sense information from the environment all the time; we constantly decode the coded values of environmental processes transmitted via the atmosphere. I smell a flower, I hear bird songs, and I see the red glow of a sunset. The process of the singing bird is coded as vibrations of air particles that knock against my ear drum. The flower is coded as molecules in the atmosphere enter my nose and bind to cilia. The red glow is coded as wavelengths from the sun are dispersed in the Earth’s atmosphere and arrive at my eye. Information, of course, does not actually exist as information until some observing system constructs it (Clarke, “Information” 157-159). This observing system as we see the sunset, hear the birds, or smell the flower involves the atmosphere as a medium, along with our sense organs and cognitive and non-cognitive processes. The molecules in the atmosphere exist independently of our sense of them, but they do not actualise as information until they are operationalised by the observational system. Prior to this, information can be thought of as noise circulating within the atmosphere. Heinz Von Foester, one of the key figures of cybernetics, states “The environment contains no information. The environment is as it is” (Von Foester in Clarke, “Information” 157). Information, in this model, actualises only when something in the world causes a change to the observational system, as a difference that makes a difference (Bateson 448-466). Air expelled from a bird’s lungs and out its beak causes air molecules to vibrate, introducing difference into the atmosphere, which is then picked up by my ear and registered as sound, informing me that a bird is nearby. One bird song is picked up as information amid the swirling noise of nature and a difference in the air makes a difference to the observational system. It may be useful to think of the purpose of information as to control action and that this is necessary “whenever the people concerned, controllers as well as controlled, belong to an organised social group whose collective purpose is to survive and prosper” (Scarrott 262). Information in this sense operates the organisation of groups. Using this definition rooted in cybernetics, we see that information allows groups, which are dependent on certain control structures based on the sending and receiving of messages through media, to thrive and defines the boundaries of these groups. We see this in a flock of birds, for instance, which forms based on the information that one bird garners from the movements of the other birds in proximity. Extrapolating from this, if we are to live included in an ecological system capable of survival, the transmission of information is vital. But the form of the information is also important. To communicate, for example, one entity first needs to recognise that the other is speaking and differentiate this information from the noise in the air. Following Clarke and Von Foester, an observing system needs to be operational. An art project that gives aesthetic form to environmental processes in this vein—and one that is particularly concerned with the co-agentive relation between humans and nature—is Reiko Goto and Tim Collin’s Plein Air (2010) (fig. 3), an element in their ongoing Eden 3 project. In this work a technological apparatus is wired to a tree. This apparatus, which references the box easels most famously used by the Impressionists to paint ‘en plein air’, uses sensing technology to detect the tree’s responses to the varying CO2 levels in the atmosphere. An algorithm then translates this into real time piano compositions. The tree’s biological processes are coded into the voice of a piano and sensed by listeners as aesthetic information. What is at stake in this work is a new understanding of atmospheres as a site for the exchange of information, and an attempt to resituate the interdependence of human and non-human entities within an experimental aesthetic system. As we breathe out carbon dioxide—both through our physiological process of breathing and our cultural processes of polluting—trees breath it in. By translating these biological processes into a musical form, Collins and Gotto’s work signals a movement from a process of atmospheric exchange to a digital process of sensing and coding, the output of which is then transmitted through the atmosphere as sound. It must be mentioned that within this movement from atmospheric gas to atmospheric music we are not listening to the tree alone. We are listening to a much more complex polyphony involving the components of the digital sensing technology, the tree, the gases in the atmosphere, and the biological (breathing) and cultural processes (cars, factories and coal fired power stations) that produce these gases. Figure 3: Reiko Goto and Tim Collins, Plein Air, 2010 As both Don Ihde and Steven Connor have pointed out, the air that we breathe is not neutral. It is, on the contrary, given its significance in technology, sound, and voice. Taking this further, we might understand sensing technology as conditioning the air with information. This type of air conditioning—as information alters the condition of air—occurs as technology picks up, detects, and makes sensible phenomena in the atmosphere. While communication media such as the telegraph and other electronic information distribution systems may have distanced information from nature, the sensing technology experimentally applied by EcoArtTech, Preeemptive Media, and Goto and Collins, may remind us of the materiality of air. These technologies allow us to connect to the atmosphere; they reformulate it, converting it to information, giving new form to the coded processes in nature.AcknowledgmentAll images reproduced with the kind permission of the artists. References Bateson, Gregory. Steps to an Ecology of Mind. Chicago: University of Chicago Press, 1972. Briggs, Asa, and Peter Burke. A Social History of the Media: From Gutenberg to the Internet. Maden: Polity Press, 2009. Brown, Steve. “Michel Serres: Science, Translation and the Logic of the Parasite.” Theory, Culture and Society 19.1 (2002): 1-27. Clarke, Bruce. “Communication.” Critical Terms for Media Studies. Eds. Mark B. N. Hansen and W. J. T. Mitchell. Chicago: University of Chicago Press, 2010. 131-45 -----. “Information.” Critical Terms for Media Studies. Eds. Mark B. N. Hansen and W. J. T. Mitchell. Chicago: University of Chicago Press, 2010. 157-71 Crocker, Stephen. “Noise and Exceptions: Pure Mediality in Serres and Agamben.” CTheory: 1000 Days of Theory. (2007). 7 June 2012 ‹http://www.ctheory.net/articles.aspx?id=574› Connor, Stephen. The Matter of Air: Science and the Art of the Etheral. London: Reaktion, 2010. Cubitt, Sean. EcoMedia. Amsterdam and New York: Rodopi, 2005 Deiter, Michael. “Processes, Issues, AIR: Toward Reticular Politics.” Australian Humanities Review 46 (2009). 9 June 2012 ‹http://www.australianhumanitiesreview.org/archive/Issue-May-2009/dieter.htm› DeLanda, Manuel. Intensive Science and Virtual Philosophy. London and New York: Continuum, 2002. Fuller, Matthew. Media Ecologies: Materialist Energies in Art and Technoculture. Cambridge, MA: MIT Press, 2005 Harman, Graham. Guerilla Metaphysics. Illinois: Open Court, 2005. Ihde, Don. Listening and Voice: Phenomenologies of Sound. Albany: State University of New York, 2007. Innis, Harold. Empire and Communication. Toronto: Voyageur Classics, 1950/2007. Losee, Robert M. “A Discipline Independent Definition of Information.” Journal of the American Society for Information Science 48.3 (1997): 254–69. McLuhan, Marshall. Understanding Media: The Extensions of Man. London: Sphere Books, 1964/1967. Morton, Timothy. Ecology Without Nature: Rethinking Environmental Aesthetics. Cambridge: Harvard University Press, 2007. Murray, Robin, and Heumann, Joseph. Ecology and Popular Film: Cinema on the Edge. Albany: State University of New York, 2009 Scarrott, G.C. “The Nature of Information.” The Computer Journal 32.3 (1989): 261-66 Serres, Michel. Hermes: Literature, Science Philosophy. Baltimore: The John Hopkins Press, 1982. -----. The Natural Contract. Trans. Elizabeth MacArthur and William Paulson. Ann Arbor: The University of Michigan Press, 1992/1995. -----. Genesis. Trans. Genevieve James and James Nielson. Ann Arbor: The University of Michigan Press, 1982/1995. -----. “A Return to the Natural Contract.” Making Peace with the Earth. Ed. Jerome Binde. Oxford: UNESCO and Berghahn Books, 2007. Strate, Lance. Echoes and Reflections: On Media Ecology as a Field of Study. New York: Hampton Press, 2006 Wallen, Ruth. “Ecological Art: A Call for Intervention in a Time of Crisis.” Leonardo 45.3 (2012): 234-42.

What strikes me about the habits of the people who spend so much time on the Net—well, it’s so new that we don't know what will come next—is in fact precisely how niche in character it is. You ask people what nets they are on, and they’re all so specialised! The Argentines on the Argentine Net and so forth. And it’s particularly the Argentines who are not in Argentina. (Anderson, in Gower, par. 5) The preceding quotation, taken from his 1996 interview with Eric Gower, sees Benedict Anderson reflecting on the formation of imagined, transnational communities on the Internet. Anderson is, of course, famous for his work on how nationalism, as an “imagined community,” gets constructed through the shared consumption of print media (6-7, 26-27); although its readers will never all see each other face to face, people consuming a newspaper or novel in a shared language perceive themselves as members of a collective. In this more recent interview, Anderson recognised the specific groupings of people in online communities: Argentines who find themselves outside of Argentina link up online in an imagined diaspora community. Over the course of the last decade and a half since Anderson spoke about Argentinian migrants and diaspora communities, we have witnessed an exponential growth of new forms of digital communication, including social networking sites (e.g. Facebook), Weblogs, micro-blogging (e.g. Twitter), and video-sharing sites (e.g. YouTube). Alongside these new means of communication, our current epoch of globalisation is also characterised by migration flows across, and between, all continents. In his book Modernity at Large, Arjun Appadurai recognised that “the twin forces of mass migration and electronic mediation” have altered the ways the imagination operates. Furthermore, these two pillars, human motion and digital mediation, are in constant “flux” (44). The circulation of people and digitally mediatised content proceeds across and beyond boundaries of the nation-state and provides ground for alternative community and identity formations. Appadurai’s intervention has resulted in increasing awareness of local, transnational, and global networking flows of people, ideas, and culturally hybrid artefacts. In this article, we analyse the various innovative tactics taken up by migrant youth to imagine digital diasporas. Inspired by scholars such as Appadurai, Avtar Brah and Paul Gilroy, we tease out—from a postcolonial perspective—how digital diasporas have evolved over time from a more traditional understanding as constituted either by a vertical relationship to a distant homeland or a horizontal connection to the scattered transnational community (see Safran, Cohen) to move towards a notion of “hypertextual diaspora.” With hypertextual diaspora, these central axes which constitute the understanding of diaspora are reshuffled in favour of more rhizomatic formations where affiliations, locations, and spaces are constantly destabilised and renegotiated. Needless to say, diasporas are not homogeneous and resist generalisation, but in this article we highlight common ways in which young migrant Internet users renew the practices around diaspora connections. Drawing from research on various migrant populations around the globe, we distinguish three common strategies: (1) the forging of transnational public spheres, based on maintaining virtual social relations by people scattered across the globe; (2) new forms of digital diasporic youth branding; and (3) the cultural production of innovative hypertexts in the context of more rhizomatic digital diaspora formations. Before turning to discuss these three strategies, the potential of a postcolonial framework to recognise multiple intersections of diaspora and digital mediation is elaborated. Hypertext as a Postcolonial Figuration Postcolonial scholars, Appadurai, Gilroy, and Brah among others, have been attentive to diasporic experiences, but they have paid little attention to the specificity of digitally mediated diaspora experiences. As Maria Fernández observes, postcolonial studies have been “notoriously absent from electronic media practice, theory, and criticism” (59). Our exploration of what happens when diasporic youth go online is a first step towards addressing this gap. Conceptually, this is clearly an urgent need since diasporas and the digital inform each other in the most profound and dynamic of ways: “the Internet virtually recreates all those sites which have metaphorically been eroded by living in the diaspora” (Ponzanesi, “Diasporic Narratives” 396). Writings on the Internet tend to favour either the “gold-rush” mentality, seeing the Web as a great equaliser and bringer of neoliberal progress for all, or the more pessimistic/technophobic approach, claiming that technologically determined spaces are exclusionary, white by default, masculine-oriented, and heteronormative (Everett 30, Van Doorn and Van Zoonen 261). For example, the recent study by Ito et al. shows that young people are not interested in merely performing a fiction in a parallel online world; rather, the Internet gets embedded in their everyday reality (Ito et al. 19-24). Real-life commercial incentives, power hierarchies, and hegemonies also get extended to the digital realm (Schäfer 167-74). Online interaction remains pre-structured, based on programmers’ decisions and value-laden algorithms: “people do not need a passport to travel in cyberspace but they certainly do need to play by the rules in order to function electronically” (Ponzanesi, “Diasporic Narratives” 405). We began our article with a statement by Benedict Anderson, stressing how people in the Argentinian diaspora find their space on the Internet. Online avenues increasingly allow users to traverse and add hyperlinks to their personal websites in the forms of profile pages, the publishing of preferences, and possibilities of participating in and affiliating with interest-based communities. Online journals, social networking sites, streaming audio/video pages, and online forums are all dynamic hypertexts based on Hypertext Markup Language (HTML) coding. HTML is the protocol of documents that refer to each other, constituting the backbone of the Web; every text that you find on the Internet is connected to a web of other texts through hyperlinks. These links are in essence at equal distance from each other. As well as being a technological device, hypertext is also a metaphor to think with. Figuratively speaking, hypertext can be understood as a non-hierarchical and a-centred modality. Hypertext incorporates multiplicity; different pathways are possible simultaneously, as it has “multiple entryways and exits” and it “connects any point to any other point” (Landow 58-61). Feminist theorist Donna Haraway recognised the dynamic character of hypertext: “the metaphor of hypertext insists on making connections as practice.” However, she adds, “the trope does not suggest which connections make sense for which purposes and which patches we might want to follow or avoid.” We can begin to see the value of approaching the Internet from the perspective of hypertext to make an “inquiry into which connections matter, why, and for whom” (128-30). Postcolonial scholar Jaishree K. Odin theorised how hypertextual webs might benefit subjects “living at the borders.” She describes how subaltern subjects, by weaving their own hypertextual path, can express their multivocality and negotiate cultural differences. She connects the figure of hypertext with that of the postcolonial: The hypertextual and the postcolonial are thus part of the changing topology that maps the constantly shifting, interpenetrating, and folding relations that bodies and texts experience in information culture. Both discourses are characterised by multivocality, multilinearity, openendedness, active encounter, and traversal. (599) These conceptions of cyberspace and its hypertextual foundations coalesce with understandings of “in-between”, “third”, and “diaspora media space” as set out by postcolonial theorists such as Bhabha and Brah. Bhabha elaborates on diaspora as a space where different experiences can be articulated: “These ‘in-between’ spaces provide the terrain for elaborating strategies of selfhood—singular or communal—that initiate new signs of identity, and innovative sites of collaboration, and contestation (4). (Dis-)located between the local and the global, Brah adds: “diaspora space is the point at which boundaries of inclusion and exclusion, of belonging and otherness, of ‘us’ and ‘them,’ are contested” (205). As youths who were born in the diaspora have begun to manifest themselves online, digital diasporas have evolved from transnational public spheres to differential hypertexts. First, we describe how transnational public spheres form one dimension of the mediation of diasporic experiences. Subsequently, we focus on diasporic forms of youth branding and hypertext aesthetics to show how digitally mediated practices can go beyond and transgress traditional formations of diasporas as vertically connected to a homeland and horizontally distributed in the creation of transnational public spheres. Digital Diasporas as Diasporic Public Spheres Mass migration and digital mediation have led to a situation where relationships are maintained over large geographical distances, beyond national boundaries. The Internet is used to create transnational imagined audiences formed by dispersed people, which Appadurai describes as “diasporic public spheres”. He observes that, as digital media “increasingly link producers and audiences across national boundaries, and as these audiences themselves start new conversations between those who move and those who stay, we find a growing number of diasporic public spheres” (22). Media and communication researchers have paid a lot of attention to this transnational dimension of the networking of dispersed people (see Brinkerhoff, Alonso and Oiarzabal). We focus here on three examples from three different continents. Most famously, media ethnographers Daniel Miller and Don Slater focused on the Trinidadian diaspora. They describe how “de Rumshop Lime”, a collective online chat room, is used by young people at home and abroad to “lime”, meaning to chat and hang out. Describing the users of the chat, “the webmaster [a Trini living away] proudly proclaimed them to have come from 40 different countries” (though massively dominated by North America) (88). Writing about people in the Greek diaspora, communication researcher Myria Georgiou traced how its mediation evolved from letters, word of mouth, and bulletins to satellite television, telephone, and the Internet (147). From the introduction of the Web, globally dispersed people went online to get in contact with each other. Meanwhile, feminist film scholar Anna Everett draws on the case of Naijanet, the virtual community of “Nigerians Living Abroad”. She shows how Nigerians living in the diaspora from the 1990s onwards connected in global transnational communities, forging “new black public spheres” (35). These studies point at how diasporic people have turned to the Internet to establish and maintain social relations, give and receive support, and share general concerns. Establishing transnational communicative networks allows users to imagine shared audiences of fellow diasporians. Diasporic imagination, however, goes beyond singular notions of this more traditional idea of the transnational public sphere, as it “has nowadays acquired a great figurative flexibility which mostly refers to practices of transgression and hybridisation” (Ponzanesi, “Diasporic Subjects” 208). Below we recognise another dimension of digital diasporas: the articulation of diasporic attachment for branding oneself. Mocro and Nikkei: Diasporic Attachments as a Way to Brand Oneself In this section, we consider how hybrid cultural practices are carried out over geographical distances. Across spaces on the Web, young migrants express new forms of belonging in their dealing with the oppositional motivations of continuity and change. The generational specificity of this experience can be drawn out on the basis of the distinction between “roots” and “routes” made by Paul Gilroy. In his seminal book The Black Atlantic: Modernity and Double Consciousness, Gilroy writes about black populations on both sides of the Atlantic. The double consciousness of migrant subjects is reflected by affiliating roots and routes as part of a complex cultural identification (19 and 190). As two sides of the same coin, roots refer to the stable and continuing elements of identities, while routes refer to disruption and change. Gilroy criticises those who are “more interested in the relationship of identity to roots and rootedness than in seeing identity as a process of movement and mediation which is more appropriately approached via the homonym routes” (19). He stresses the importance of not just focusing on one of either roots or routes but argues for an examination of their interplay. Forming a response to discrimination and exclusion, young migrants in online networks turn to more positive experiences such as identification with one’s heritage inspired by generational specific cultural affiliations. Here, we focus on two examples that cross two continents, showing routed online attachments to “be(com)ing Mocro”, and “be(coming) Nikkei”. Figure 1. “Leipe Mocro Flavour” music video (Ali B) The first example, being and becoming “Mocro”, refers to a local, bi-national consciousness. The term Mocro originated on the streets of the Netherlands during the late 1990s and is now commonly understood as a Dutch honorary nickname for youths with Moroccan roots living in the Netherlands and Belgium. A 2003 song, Leipe mocro flavour (“Crazy Mocro Flavour”) by Moroccan-Dutch rapper Ali B, familiarised a larger group of people with the label (see Figure 1). Ali B’s song is exemplary for a wider community of youngsters who have come to identify themselves as Mocros. One example is the Marokkanen met Brainz – Hyves (Mo), a community page within the Dutch social networking site Hyves. On this page, 2,200 youths who identify as Mocro get together to push against common stereotypes of Moroccan-Dutch boys as troublemakers and thieves and Islamic Moroccan-Dutch girls as veiled carriers of backward traditions (Leurs, forthcoming). Its description reads, “I assume that this Hyves will be the largest [Mocro community]. Because logically Moroccans have brains” (our translation): What can you find here? Discussions about politics, religion, current affairs, history, love and relationships. News about Moroccan/Arabic Parties. And whatever you want to tell others. Use your brains. Second, “Nikkei” directs our attention to Japanese migrants and their descendants. The Discover Nikkei website, set up by the Japanese American National Museum, provides a revealing description of being and becoming Nikkei: As Nikkei communities form in Japan and throughout the world, the process of community formation reveals the ongoing fluidity of Nikkei populations, the evasive nature of Nikkei identity, and the transnational dimensions of their community formations and what it means to be Nikkei. (Japanese American National Museum) This site was set up by the Japanese American National Museum for Nikkei in the global diaspora to connect and share stories. Nikkei youths of course also connect elsewhere. In her ethnographic online study, Shana Aoyama found that the social networking site Hi5 is taken up in Peru by young people of Japanese heritage as an avenue for identity exploration. She found group confirmation based on the performance of Nikkei-ness, as well as expressions of individuality. She writes, “instead of heading in one specific direction, the Internet use of Nikkei creates a starburst shape of identity construction and negotiation” (119). Mocro-ness and Nikkei-ness are common collective identification markers that are not just straightforward nationalisms. They refer back to different homelands, while simultaneously they also clearly mark one’s situation of being routed outside of this homeland. Mocro stems from postcolonial migratory flows from the Global South to the West. Nikkei-ness relates to the interesting case of the Japanese diaspora, which is little accounted for, although there are many Japanese communities present in North and South America from before the Second World War. The context of Peru is revealing, as it was the first South American country to accept Japanese migrants. It now hosts the second largest South American Japanese diaspora after Brazil (Lama), and Peru’s former president, Alberto Fujimoro, is also of Japanese origin. We can see how the importance of the nation-state gets blurred as diasporic youth, through cultural hybridisation of youth culture and ethnic ties, initiates subcultures and offers resistance to mainstream western cultural forms. Digital spaces are used to exert youthful diaspora branding. Networked branding includes expressing cultural identities that are communal and individual but also both local and global, illustrative of how “by virtue of being global the Internet can gift people back their sense of themselves as special and particular” (Miller and Slater 115). In the next section, we set out how youthful diaspora branding is part of a larger, more rhizomatic formation of multivocal hypertext aesthetics. Hypertext Aesthetics In this section, we set out how an in-between, or “liminal”, position, in postcolonial theory terms, can be a source of differential and multivocal cultural production. Appadurai, Bhabha, and Gilroy recognise that liminal positions increasingly leave their mark on the global and local flows of cultural objects, such as food, cinema, music, and fashion. Here, our focus is on how migrant youths turn to hypertextual forms of cultural production for a differential expression of digital diasporas. Hypertexts are textual fields made up of hyperlinks. Odin states that travelling through cyberspace by clicking and forging hypertext links is a form of multivocal digital diaspora aesthetics: The perpetual negotiation of difference that the border subject engages in creates a new space that demands its own aesthetic. This new aesthetic, which I term “hypertext” or “postcolonial,” represents the need to switch from the linear, univocal, closed, authoritative aesthetic involving passive encounters characterising the performance of the same to that of non-linear, multivocal, open, non-hierarchical aesthetic involving active encounters that are marked by repetition of the same with and in difference. (Cited in Landow 356-7) On their profile pages, migrant youth digitally author themselves in distinct ways by linking up to various sites. They craft their personal hypertext. These hypertexts display multivocal diaspora aesthetics which are personal and specific; they display personal intersections of affiliations that are not easily generalisable. In several Dutch-language online spaces, subjects from Dutch-Moroccan backgrounds have taken up the label Mocro as an identity marker. Across social networking sites such as Hyves and Facebook, the term gets included in nicknames and community pages. Think of nicknames such as “My own Mocro styly”, “Mocro-licious”, “Mocro-chick”. The term Mocro itself is often already multilayered, as it is often combined with age, gender, sexual preference, religion, sport, music, and generationally specific cultural affiliations. Furthermore, youths connect to a variety of groups ranging from feminist interests (“Women in Charge”), Dutch nationalism (“I Love Holland”), ethnic affiliations (“The Moroccan Kitchen”) to clothing (the brand H&M), and global junk food (McDonalds). These diverse affiliations—that are advertised online simultaneously—add nuance to the typical, one-dimensional stereotype about migrant youth, integration, and Islam in the context of Europe and Netherlands (Leurs, forthcoming). On the online social networking site Hi5, Nikkei youths in Peru, just like any other teenagers, express their individuality by decorating their personal profile page with texts, audio, photos, and videos. Besides personal information such as age, gender, and school information, Aoyama found that “a starburst” of diverse affiliations is published, including those that signal Japanese-ness such as the Hello Kitty brand, anime videos, Kanji writing, kimonos, and celebrities. Also Nikkei hyperlink to elements that can be identified as “Latino” and “Chino” (Chinese) (104-10). Furthermore, users can show their multiple affiliations by joining different “groups” (after which a hyperlink to the group community appears on the profile page). Aoyama writes “these groups stretch across a large and varied scope of topics, including that of national, racial/ethnic, and cultural identities” (2). These examples illustrate how digital diasporas encompass personalised multivocal hypertexts. With the widely accepted adagio “you are what you link” (Adamic and Adar), hypertextual webs can be understood as productions that reveal how diasporic youths choose to express themselves as individuals through complex sets of non-homogeneous identifications. Migrant youth connects to ethnic origin and global networks in eclectic and creative ways. The concept of “digital diaspora” therefore encapsulates both material and virtual (dis)connections that are identifiable through common traits, strategies, and aesthetics. Yet these hypertextual connections are also highly personalised and unique, offering a testimony to the fluid negotiations and intersections between the local and the global, the rooted and the diasporic. Conclusions In this article, we have argued that migrant youths render digital diasporas more complex by including branding and hypertextual aesthetics in transnational public spheres. Digital diasporas may no longer be understood simply in terms of their vertical relations to a homeland or place of origin or as horizontally connected to a clearly marked transnational community; rather, they must also be seen as engaging in rhizomatic digital practices, which reshuffle traditional understandings of origin and belonging. Contemporary youthful digital diasporas are therefore far more complex in their engagement with digital media than most existing theory allows: connections are hybridised, and affiliations are turned into practices of diasporic branding and becoming. There is a generational specificity to multivocal diaspora aesthetics; this specificity lies in the ways migrant youths show communal recognition and express their individuality through hypertext which combines affiliation to their national/ethnic “roots” with an embrace of other youth subcultures, many of them transnational. These two axes are constantly reshuffled and renegotiated online where, thanks to the technological possibilities of HTML hypertext, a whole range of identities and identifications may be brought together at any given time. We trust that these insights will be of interest in future discussion of online networks, transnational communities, identity formation, and hypertext aesthetics where much urgent and topical work remains to be done. References Adamic, Lada A., and Eytan Adar. “You Are What You Link.” 2001 Tenth International World Wide Web Conference, Hong Kong. 26 Apr. 2010. ‹http://www10.org/program/society/yawyl/YouAreWhatYouLink.htm›. Ali B. “Leipe Mocro Flavour.” ALIB.NL / SPEC Entertainment. 2007. 4 Oct. 2010 ‹http://www3.alib.nl/popupAlibtv.php?catId=42&contentId=544›. Alonso, Andoni, and Pedro J. Oiarzabal. Diasporas in the New Media Age. Reno: U of Nevada P, 2010. Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Rev. ed. London: Verso, 2006 (1983). Aoyama, Shana. Nikkei-Ness: A Cyber-Ethnographic Exploration of Identity among the Japanese Peruvians of Peru. Unpublished MA thesis. South Hadley: Mount Holyoke, 2007. 1 Feb. 2010 ‹http://hdl.handle.net/10166/736›. Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: U of Minnesota P, 1996. Bhabha, Homi. The Location of Culture. New York: Routledge, 1994. Brah, Avtar. Cartographies of Diaspora: Contesting Identities. London: Routledge, 1996. Brinkerhoff, Jennifer M. Digital Diasporas: Identity and Transnational Engagement. Cambridge: Cambridge UP, 2009. Cohen, Robin. Global Diasporas: An Introduction. London: U College London P, 1997. Everett, Anna. Digital Diaspora: A Race for Cyberspace. Albany: SUNY, 2009. Fernández, María. “Postcolonial Media Theory.” Art Journal 58.3 (1999): 58-73. Georgiou, Myria. Diaspora, Identity and the Media: Diasporic Transnationalism and Mediated Spatialities. Creskill: Hampton Press, 2006. Gilroy, Paul. The Black Atlantic: Modernity and Double Consciousness. London: Verso, 1993. Gower, Eric. “When the Virtual Becomes the Real: A Talk with Benedict Anderson.” NIRA Review, 1996. 19 Apr. 2010 ‹http://www.nira.or.jp/past/publ/review/96spring/intervi.html›. Haraway, Donna. Modest Witness@Second Millennium. FemaleMan Meets OncoMouse: Feminism and Technoscience. New York: Routledge, 1997. Ito, Mizuko, et al. Hanging Out, Messing Out, and Geeking Out: Kids Living and Learning with New Media. Cambridge: MIT Press, 2010. Japanese American National Museum. “Discover Nikkei: Japanese Migrants and Their Descendants.” Discover Nikkei, 2005. 4 Oct. 2010. ‹http://www.discovernikkei.org/en/›. Lama, Abraham. “Home Is Where the Heartbreak Is for Japanese-Peruvians.” Asia Times 16 Oct. 1999. 6 May 2010 ‹http://www.atimes.com/japan-econ/AJ16Dh01.html›. Landow, George P. Hypertext 3.0. Critical Theory and New Media in an Era of Globalization. Baltimore: Johns Hopkins UP, 2006. Leurs, Koen. Identity, Migration and Digital Media. Utrecht: Utrecht University. PhD Thesis, forthcoming. Miller, Daniel, and Don Slater. The Internet: An Etnographic Approach. Oxford: Berg, 2000. Mo. “Marokkanen met Brainz.” Hyves, 23 Feb. 2008. 4 Oct. 2010. ‹http://marokkaansehersens.hyves.nl/›. Odin, Jaishree K. “The Edge of Difference: Negotiations between the Hypertextual and the Postcolonial.” Modern Fiction Studies 43.3 (1997): 598-630. Ponzanesi, Sandra. “Diasporic Narratives @ Home Pages: The Future as Virtually Located.” Colonies – Missions – Cultures in the English-Speaking World. Ed. Gerhard Stilz. Tübingen: Stauffenburg, 2001. 396–406. Ponzanesi, Sandra. “Diasporic Subjects and Migration.” Thinking Differently: A Reader in European Women's Studies. Ed. Gabrielle Griffin and Rosi Braidotti. London: Zed Books, 2002. 205–20. Safran, William. “Diasporas in Modern Societies: Myths of Homeland and Return.” Diaspora 1.1 (1991): 83-99. Schäfer, Mirko T. Bastard Culture! How User Participation Transforms Cultural Production. Amsterdam: Amsterdam UP, 2011. Van Doorn, Niels, and Liesbeth van Zoonen. “Theorizing Gender and the Internet: Past, Present, and Future.” Routledge Handbook of Internet Politics. Ed. Andrew Chadwick and Philip N. Howard. London: Routledge. 261-74.

“We may no longer be able to trust technology. A computer program could, without warning, become an uncontrollable force, triggered by a date, an event or a timer.” (Clough and Mungo 223) Introduction In 1991 the Information Security Handbook noted how “society is becoming increasingly dependent on the accurate and timely distribution of information” (Shain 4). This dependence, however, exposed the society to new kinds of dangers, accidents that have to do with information disorders – viruses, worms, bugs, malicious hackers etc. In this essay, I focus on digital viruses as disorderly elements within the digital culture. It is due to certain key principles in computing and computer security that viruses and worms have acquired their contemporary status as malicious software, that is, malware – elements of chaos, accident and disorder. According to my claim, the fear of viruses does not stem just from the contemporary culture of digital technology. It is part of a longer genealogy of modern computing, which has emphasized issues of control, reliability and order. Viruses and worms threaten the conceptual ontology of digital culture in a similar fashion as epidemic diseases have been figures for social disorder throughout Western history. Unlike AIDS or other deadly biological viruses, computer viruses have not been known to cause casualties to humans, yet they have been treated the last years as the “killer viruses of digital culture”, connotating the seriousness of the threat. A “viral perspective” to digital culture reveals how underlying articulations of order are used to construct an all-too-harmonious picture of computers in modern society. Reliability Anti-virus manuals, guidebooks and other such publications have especially contributed to our understanding of viruses as threats to the orderly digital society. The editorial of the first issue of Virus Bulletin (July 1989) sees viruses as a cunning form of vandalism and an indication of ”sabotage mentality”. Viruses destroy information and produce uncontrollability: Rather like Hitler’s V1 ‘flying bomb’, no-one knows when or where a computer virus will strike. They attack indiscriminately. Virus writers, whether or not they have targeted specific companies or individuals, must know that their programs, once unleashed, soon become uncontrollable. (Virus Bulletin 2) Computer viruses mean unreliable and unexpected danger: they are a chaotic element within a system based on security and order. According to a widely embraced view computer security means 1) confidentiality (the privacy of sensitive information), 2) integrity (authorized information and program exchange) and 3) availability (systems work promptly and allow access to authorized users). (E.g. Shain 5). Viruses and other forms of malicious code are, consequently, a direct threat to these values, part of the modern episteme in general. This is what I will here define as “a computational way of thinking”. The concept refers not only to the epistemological and ontological presuppositions in actual computer science discussions, but also to the larger cultural historical contexts surrounding the design, implementation and use of computers. Of course, one has to note that computers have never been those reliable and rational dream-machines they have been taken to be, as they are exposed to various potentials for breaking down of which viruses and worms form only a minor part. Yet, interestingly, reading professional and popular depictions of digital viruses reveals that these sources do consider computers as otherwise integrated, coherent and pristine machines of rationality, which are only temporarily disturbed by the evil occurrences of external malicious software. Control The virus researcher Vesselin Bontchev acknowledges how issues of trust and control are at the heart of computing and the virus threat: “a computer virus steals the control of the computer from the user. The virus activity ruins the trust that the user has in his/her machine, because it causes the user to lose his or her belief that she or he can control this machine” (31). This definition resonates with broader cultural trends of modernization. Zygmunt Bauman has expressed the essence of modern science as an ”ambition to conquer Nature and subordinate it to human needs” (39). Bauman understands this as ”control management”: the moulding of things to suit human needs. The essence of modern technology proceeds along the same lines, defined through values of progress, controllability, subordination of chaos and reification of the world. From the 19th-century on, technology became closely associated with advances in science. The values of order and control were embedded in the machines and technological systems, and with time, these values became the characteristics of modern technological culture. In this vein modernity can be defined as a new attitude towards controlling information. Capitalism and digital culture as historical phenomena share the valuation of abstraction, standardization and mechanization, which were already part of the technological culture of the 19th-century. Similarly, Turing’s universal machine was above all a machine of ordering and translation, with which heterogenous phenomena could be equated. This idea, concretised in typewriters, conveyer belts, assembly lines, calculators and computers served the basis for both digital machines and capitalism. The concrete connection was the capitalist need to control the increasingly complex amount of production, circulation and signs. Rationalism – as exemplified in Babbage’s differential calculators, Taylor’s ideas of work-management and cybernetics – was the image of thought incorporated in these machines (Gere 19–40). Rationalism In general, first order cybernetics fulfilled the project of modern abstract rationalism. In other words, notions of control and order play a significant role in the archaeology of information technological security, and these themes are especially visible in the thinking of Norbert Wiener, the pioneer of cybernetics. Wiener’s cybernetics touches, most of all, upon the question of understanding the world as communication circuits and controlling them via successful feedback loops that maintain the stasis of a system. This theory relates closely the problem of entropy, a classical notion in statistical mechanics from the 19th-century: “Just as the amount of information in a system is a measure of its degree of organization, so the entropy of a system is a measure of its degree of disorganization; and the one is simply the negative of the other” (Wiener 11). Wiener and the modern era share a respect for control and security. As products of modernity, cybernetics, systems theory and information theory are all in a way theories of order and cleanliness. This is the main theme of Stephen Pfohl’s essay “The Cybernetic Delirium of Norbert Wiener”, in which he describes the cultural historical background of modern cybernetic culture. To Pfohl, cybernetics does not mean a purely academic discipline but “a term connoting the most far-reaching of ultramodern forms of social control.” Pfohl delineates the genealogy of cybernetics from the early projects on anti-aircraft artillery to the functioning of the contemporary capitalist media culture. For Pfohl, Wiener’s theories connect directly to the power structures of modern society, sacrificing other ways of being, restricting other possible worlds from emerging. Paraphrasing Pfohl, cybernetics regulates and modifies the dynamic flows of the world into fixed, stabilized and controlled boundaries. Noise The engineering problem of logical calculation and communication of signals without noise expands towards the more general cultural fields of power and articulation. I would especially like to pick up the notion of noise, which, as understood by Bauman, means undefinability, incoherence, incongruity, incompatibility, illogicality, irrationality, ambiguity, confusion, undecidability, ambivalence, all tropes of “the other of order” (7). For cybernetics and early computer pioneers, noise meant a managing problem, objects in the way of transmitting signals. Noise as the most important problem for the rise of modern discourse networks was not solved once and for all in any historical phase, but remained part of the communication acts ever since, and the only resolution to the problem of non-communication was to incorporate it within the system (Kittler 242). Computer viruses can be understood as contemporary instances of this notion of noise. They are software that short-circuit the “normal” operations of a computer and connect themselves to the basic functioning of the machine. Viruses mean short-term wiring of noise to the components of a computer. By definition, viruses have been conceived as a threat to any computer system for a) virus activity is always uncontrollable, because the actions of the virus program are autonomous and b) viruses behave indeterminately and unpredictably (Lamacka 195). In a much more positive vein, this coupling of computing order and viral disorder has been noted by recent net art projects. According to the net artist Jaromil the digital domain produces a form of chaos – which is inconvenient because it is unusual and fertile – on which people can surf. In that chaos, viruses are spontaneous compositions which are like lyrical poems in causing imperfections in machines ”made to work” and in representing the rebellion of our digital serfs. Jaromil takes noise as the starting point and articulates how viruses function also as forms of resistance to the contemporary informational capitalist ideology of the digital. Charlie Gere’s analysis of the connections between modern technology and capitalism is apt in this regard as well: the abstract, standardizing and mechanizing machines of modernization serve the basis for both the cult of the digital and contemporary capitalism in a way that makes these two almost siblings. Thus, also accidents of this techno-capitalist culture are not solely technical, but social in that they are articulated on a plane of society and cultural interaction. Viruses can thus be understood as those “unwanted bads” that are a by-product of post-industrial culture of production of goods (Van Loon), as well as they can be viewed alongside other mass mediated apocalyptic monsters threatening the order of contemporary Western culture, as Luca Lampo from the net art group _[epidemiC]_ suggests: We feel that “The Virus” is the “stranger”, the “other”, in our machine, a sort of digital sans papier—uncontrollable diversity. Once Hollywood, like Empire, finished killing “Indians” and the “Soviet Russians”, the Hollywood propaganda machine had to build other anti-Empire monsters to keep alive the social imaginary of 2001: aliens, meteors, epidemic… so many monsters. In this light, while being technical bits of code that from time to time cause trouble for users, viruses act also as social signs which can be activated in various contexts. For representatives of the official computer culture viruses and worms are signs of disorder, chaos and crime that undermine the presumed reliability of digital culture, which would otherwise function “normally.” Yet, according to some commentators, viral disorder should not mean solely anarchy but a space for variation and experimentation that resist the one-way ideology of computer rationalism. (See Sampson; Cohen; Deleuze.) For some, that ideology has been crystallized in the figure of Microsoft, a popular target for virus attacks. This view accentuates that the genealogy of computers and rationalism analysed above is but one potential history. There is always the possibility to write the counter-memory of the disorderly, accidental, probabilistic and contingent nature of technological culture. Hence, viruses might prove out to be also intellectual tools, with which to create new concepts and viewpoints to digital culture and the cultural history of computing and technology in general. Already Martin Heidegger (§ 16) proposed that modern technology reveals itself at the moment of its breaking. In this sense, viruses reveal the functioning of a certain ideological or micro-political constitution of digital order. The challenge is not to take any notion of a “healthy” cultural network without disturbances as the starting point, but to see elements of break-up as part and parcel of those systems. Even if we are used to thinking of systems as orderly and harmonious, “[i]n the beginning there was noise”, as Serres (13) notes. This emphasizes the conceptual space we should give to the parasites who reveal the networks of power that otherwise are left unnoticed. References Bauman, Zygmunt. Modernity and Ambivalence. Cambridge: Polity Press, 1995 Bontchev, Vesselin. “Are ‘Good’ Computer Viruses Still a Bad Idea?” EICAR Conference Proceedings 1994, 25–47. Clough, Bryan and Mungo, Paul. Approaching Zero: Data Crime and the Computer Underworld. London & Boston: Faber & Faber, 1992. Cohen, Fred. It’s Alive! The New Breed of Living Computer Programs. New York: John Wiley & Sons, 1994. Deleuze, Gilles. “Post-scriptum sur les sociétés de contrôle” In: Pourparlers 1972–1990. Paris: Les éditions de minuit, 1990, 240–7. Gere, Charlie. Digital Culture. London: Reaktion Books, 2002. Heidegger, Martin. Being and Time. Albany: New York University Press, 1996. Jaromil. “:(){ :|:& };:” ‘I love You’ – exhibition catalogue, 2002, http://www.digitalcraft.org/index.php?artikel_id=292> Kittler, Friedrich. Draculas Vermächtnis: Technische Schriften. Leipzig: Reclam Verlag Leipzig, 1993. Lamacka, Pavel. “Harmless and useful viruses can hardly exist.” Virus Bulletin Conference Proceedings 1995, 193–8. Lampo, Luca. “When The Virus Becomes Epidemic.” An Interview with Luca Lampo by Snafu and Vanni Brusadin, 18.4.2002, http://www.epidemic.ws/downJones_press/THE_THING_ Interview_files/index_files/display.forum> Pfohl, Stephen. “The Cybernetic Delirium of Norbert Wiener.” C-Theory 30.1.1997 http://www.ctheory.net/text_file.asp?pick=86>. Sampson, Tony. ”A Virus in Info-Space.” M/C Journal http://www.media-culture.org.au/0406/07_Sampson.html>. Serres, Michel. The Parasite. Baltimore & London: The Johns Hopkins University Press, 1982. Shain, Michael. ”An Overview of Security”. Information Security Handbook. Eds. Michael Caelli, Dennis Longley & Michael Shain. Basingstoke: Macmillan, 1994 (1991). Van Loon, Joost. Risk and Technological Culture: Towards a Sociology of Virulence. London & New York: Routledge, 2002. Virus Bulletin, “Editorial”, July 1989. Wiener, Norbert. Cybernetics, or Control and Communication in the Animal and the Machine. 2nd edition. (1st edition 1948). New York & London: The M.I.T. Press and John Wiley & Sons, 1961. Citation reference for this article MLA Style Parikka, Jussi. "Viral Noise and the (Dis)Order of the Digital Culture." M/C Journal 7.6 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0501/05-parikka.php>. APA Style Parikka, J. (Jan. 2005) "Viral Noise and the (Dis)Order of the Digital Culture," M/C Journal, 7(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0501/05-parikka.php>.

Scientific Program Oral Presentations Authors Title Abstract CONSTANTIN MUNTEANU, Mihail HOTETEU, Diana MUNTEANU, Gabriela DOGARU - 12 minutes PERSPECTIVES OF BALNEOLOGY - INTERNATIONAL DATA INPUTS, NATIONAL OUTPUTS Link L1 UMBERTO SOLIMENE - 14 minutes CLIMATE AND HEALTH: A NEW CHALLENGE FOR AN OLD SCIENCE Link L2 Zeki KARAGÜLLE - 14 minutes BALNEOLOGICAL TREATMENTS WITH NATURAL HYDROGEN SULFIDE (H2S) Waters Link L3 Constantin Florin Dragan, Liliana Padure, Gelu Onose - 12 minutes SPECIFIC ADVANCED QUANTIFICATIONS ON THE RELATIONSHIP BETWEEN THE ANGULATION OF THE MAIN SCOLIOTIC CURVE AND LEG SWING IN THE GAIT PHASES, IN CHILDREN AND ADOLESCENTS WITH AND WITHOUT POSTURAL TREATMENT Link L4 Irina ALBADI, Camelia CIOBOTARU, Andreea-Alexandra LUPU, Ionela BALASA, Claudiu FATU, Enghin SACHIR, Gelu ONOSE - 12 minutes A MULTIMODAL APPROACHES TO MANAGE REHABILITATION THERAPY OF DISFUNCTIONALS ASPECTS TO A PACIENT WITH GOUT, MIELLITUS DIABETES, ATRIAL FIBRILATION AND MIDDLE CEREBRAL ARTERY STROKE Link L5 ELENA RAEVSCHI - 12 minutes PREVENTION CONSIDERATIONS IN Cardiovascular Diseases regarding the premature mortality reduction Link L6 ANIȘOARA CIMIL - 12 minutes THE EFFECTIVENESS OF THE REHABILITATION PROGRAMME ACCORDING TO THE ETIOPATHOGENESIS OF PROSTHETIC JOINT PATHOLOGY Link L7 TRAIAN -VIRGILIU SURDU, Monica SURDU, Olga SURDU - 10 minutes FOURTH INDUSTRIAL REVOLUTION (INDUSTRY 4.0) AND MODERN THERMAL MEDICINE (THERME 4.0) IN XXIST CENTURY Link L8 Gabriela DOGARU, Akos MOLNAR, Marieta MOTRICALA - 10 minutes EFFECTS OF CARBONATED MINERAL WATER AND MOFETTE IN BĂILE TUŞNAD IN EXPERIMENTALLY INDUCED ISCHEMIC HEART DISEASE Link L9 Q & A – 12 minutes Authors Title Abstract Aurelian Anghelescu, Valentin Deaconu, Catalina Axente,Elena Constantin, Gelu Onose - 12 minutes THERAPEUTIC DIFFICULTIES IN A YOUNG PATIENT WITH MULTIDRUG RESISTANT EPILEPSY (NEEDING VAGAL NERVE ELECTROSTIMULATION), SEQUELAE AFTER CONGENITAL VASCULAR CEREBRAL MALFORMATION, WITH CHRONIC GAIT IMPAIRMENTS AND RECENT TRAUMATIC BRAIN COMPLICATION Link L10 Luminița NIRLU, Alexandru G. STAVRICĂ, Laura Georgiana Popescu, Ana Carmen Albeșteanu, Ali-Osman Saglam, Gelu Onose - 12 minutes DIAGNOSTIC PARTICULARITIES AND MULTIMODAL THERAPEUTIC AND REHABILITATION APPROACHES TO A COMPLEX CASE OF POST ISCHEMIC STROKE WITH DYSPHAGIA AND DYSPHONIA, ASSOCIATING MILLARD-GUBLER AND WALLENBERG SYNDROMES - CASE REPORT Link L11 Cristina Octaviana DAIA, Croitoru Stefana, Mariana Axente, Gelu ONOSE - 14 minutes IONTOPHORESIS AND LASER APPLICATIONS IN FACIAL NERVE PALSY Link L12 Doina Maria MOLDOVAN, Gabriela DOGARU - 12 minutes SPLINTING VERSUS SURGICAL TREATMENT IN MALLET FINGER Link L13 Doina Maria MOLDOVAN, Gabriela DOGARU - 12 minutes EARLY REHABILITATION IN PATIENT AFTER TREATMENT FOR DISTAL RADIUS FRACTURE Link L14 Liliana PADURE, Raluca PETCU, Anca Irina GRIGORIU - 12 minutes THE IMPACT OF MULTIFACTORIAL GAIT ANALYSIS ON THE DIAGNOSIS AND REHABILITATION OF CHILDREN WITH WALKING DISORDERS Link L15 Valerica Creanga-Zarnescu, Ana-Maria Fatu, Mihaela Lungu, Violeta Sapira, Anamaria Ciubara - 12 minutes REHABILITATION POSSIBILITIES OF APHASIC PATIENT Link L16 Cristina DAIA, Simona SCHEK, Stefana CROITORU, Alina GHERGHICEANU, Gelu ONOSE - 12 minutes FAVORABLE REHABILITATION RESULTS ON A PATIENT WITH SEVERE LEFT HEMIPLEGIA AFTER AN INTRAPARENCHYMAL HEMATOMA Link L17 Elena VIZITIU, Mihai CONSTANTINESCU, Sînziana Călina SILIȘTEANU - 12 minutes THE ROLE OF THERAPEUTIC SWIMMING IN THE PROPHYLAXIS OF SCOLIOSIS IN THE "C" LEFT IN CHILDREN DURING THE PREPUBERTAL PERIOD Link L18 Q & A – 12 minutes Authors Title Abstract Alexandru G. STAVRICĂ, Luminiţa Nirlu, Laura Georgiana Popescu, Ana Carmen Albeşteanu, Gelu ONOSE - 12 minutes DIAGNOSTIC AND THERAPEUTIC APPROACHES IN REHABILITATION CORRELATED TO A CASE OF TETRAPARESIS (WITH PREDOMINANCE OF PARAPARESIS) AFTER SEVERE CCT - BIFRONTO - BASAL AND BITEMPORAL CONTUSION. Link L19 Ana Maria Bumbea, Otilia Rogoveanu, Carmen,Albu Rodica Traistaru, Catalin,Bostina, Bogdan Stefan Bumbea, Roxana Dumitrascu, Borcan Madalina MANAGEMENT OF SPASTICITY IN NEUROLOGICAL PATIENTS Link L20 Laura Georgiana Popescu, Luminița Nirlu, Ana Carmen Albeșteanu, Ali Osman Saglam, Gelu Onose - 12 minutes PARTICULARITIES OF COMPLEX THERAPEUTICALLY-REHABILITATIVE MANAGEMENT, STEPWISE, IN A PATIENT WITH POST-CCT PSYCHO-COGNITIVE IMPAIRMENT IN A LARGE POLYTRAMATIC CONTEXT - CASE REPORT Link L21 Adrian MELNIC, Oleg PASCAL - 12 minutes DEVELOPING STRATEGIES TO ADDRESS COMORBIDITY IN STROKE REHABILITATION. Link L22 Dorin-Gheorghe TRIFF, Simona POP - 12 minutes MONOGENIC DISEASES WITH MUSCULO ARTICULAR LAXITY. DIAGNOSTIC CRITERIA AND PRINCIPLES OF RECOVERY THERAPY Link L23 Catalin Ionite, Dragos Arotaritei, Mihai Ilea, Mariana Rotariu - 12 minutes THE USE OF ELASTIC BANDS IN THE RECOVERY OF ANKLE SPRAINS Link L24 Mariana Rotariu, Marius Turnea, Calin Corciova, Catalin Ionite - 12 minutes THE EFFECTS OF CUBE THERAPY IN THE RECOVERY OF THE ARTHROSIS HAND IN GERIATRICS Link L25 Cristian Ştefan LIUŞNEA - 12 minutes FITNESS AND WELLNESS. CONCEPTUAL DELIMITATIONS Link L26 Adriana LUPU - 12 minutes NSAID THERAPY OF MUSCULOSKELETAL PAINS AND ITS PARTICULARITIES IN THE PATIENTS SUFFERING FROM CARDIOVASCULAR DISORDERS Link L27 Q & A – 12 minutes Authors Title Abstract Mihaela MANDU, Cristinel Dumitru BADIU, Raluca PETCU, Cosmin OPREA, Gelu ONOSE - 12 minutes CLINICAL-EVOLUTIVE PARTICULARITIES AND A MULTIMODAL THERAPEUTIC-REHABILITATIVE, AS WELL AS THROUGH CONNECTED CARES, APPROACH, IN A CASE OF HEMIPLEGIA AFTER ISCHEMIC CARDIO-EMBOLIC STROKE WITHIN A POLYPATHOLOGICAL CONTEXT Link L28 Ana Carmen Albesteanu, Laura Georgiana Popescu, Luminița Nirlu, Ali Osman Saglam, Gelu Onose - 12 minutes MULTIMODAL - REHABILITATIVE THERAPEUTICAL APPROACHES IN A COMPLEX OF PATHOLOGY INCLUDING POSSIBLY EVOLVING DISCARIOTIC TYPE - CASE REPORT Link L29 Liliana PADURE, Cristian Adam, Laura Fierbinteanu - 12 minutes ATTACHMENT - PROGNOSTIC FACTOR IN MEDICAL RECOVERY Link L30 Prof. Alexandru Vlad Ciurea - 20 minutes MOTILITY OR MORBIDITY IN NEUROSURGERY Link L31 Valerica CREANGA-ZARNESCU, Ana-Maria FATU, Anamaria CIUBARA, Violeta SAPIRA,Aurelia ROMILA, Mihaela LUNGU - 12 minutes EXERCISES PROGRAM AND REHABILITATION IN PARKINSON’S DISEASE Link L32 Irina VERINCEANU,Alice MUNTEANU, Andreea STOICA, Stefan ISPAS - 12 minutes THE CARDIAC REHABILITATION IN PATIENTS WITH ACUTE MYOCARDIAL INFARCTION Link L33 Marius Turnea, Catalin Ionite, Mihai Ilea, Dragos Arotaritei - 12 minutes STATISTICAL ANALYSIS OF PHYSIOTHERAPEUTIC MEANS USED IN THE RECOVERY OF MUSCLE INJURIES IN ATHLETES Link L34 Mihaiela CHICU, Eugen BITERE - 10 minutes THE ROLE OF IL1β IN CARTILAGINOUS DISTRUCTION IN RHEUMATOID ARTHRITIS Link L35 Mihaiela CHICU, Eugen BITERE - 10 minutes THE ROLE OF THE INFLAMMASOMS IN THE PATHOGENESIS OF INFLAMMATORY REACTION Link L36 Q & A – 8 minutes Authors Title Abstract Prof. Dr. Gelu Onose, (Keynote Speaker) Vlad Ciobanu, Corina Sporea - 20 minutes A TOPICAL SYSTEMATIC LITERATURE REVIEW AND REAPPRAISAL ON ESSAYS TOWARDS SYSTEMATIZING CLINICAL ASSESSMENT INSTRUMENTS USED TO EVALUATE NEURO-functional deficits after spinal cord injuries, mainly in adults, including through the ICF(-DH) conceptual framework Link L37 Diana-Elena SERBAN, Aurelian ANGHELESCU, Elena CONSTANTIN, Gelu ONOSE - 12 minutes THE ACQUISITION OF SELF-DEFENSE TECHNIQUES AND PROCEDURES AGAINST THE ACT OF AGGRESSION IN THE PACIENT WITH PARAPLEGIA, WHEEL-CHAIR INDEPENDENT Link L38 Aurelian Anghelescu, Elena Constantin, Anca Sanda Mihaescu, Gelu Onose - 12 minutes “PREVENTION IS CURE, EDUCATION IS ESSENTIAL” - RESPONSIBLE IMPLICATION OF YOUNG PEOPLE IN EDUCATIONAL AND PROPHYLACTIC ACTIONS AGAINST ACCIDENTAL CERVICAL SPINAL CORD INJURY AND SEVERE DISABILITIES BY DIVING IN UNVERIFIED WATERS. Link L39 Alexandra SPORICI, Irina ANGHEL, Lapadat MAGDALENA, Gelu ONOSE - 12 minutes RECOVERABLE RESULTS AT A PATIENT WITH AIS/FRANKEL D INCOMPLETE TETRAPLEGIA / POST SPINAL CORD INJURY BY FALLING FROM A HEIGHT, ON AN ANKYLOSING SPONDYLITIS BACKGROUND Link L40 Ioana ANDONE, Carmen CHIPĂRUȘ, Andreea FRUNZA, Aura SPÎNU, Simona STOICA, Liliana ONOSE, George PATRASCU, Gelu ONOSE -12 minutes CLINICAL, PARACLINICAL ASPECTS AND COMPLEX THERAPEUTICAL APPROACHES IN A PATIENT WITH INCOMPLETE PARAPLEGIA, POST THORACIC MENIGIOMA SURGICALLY TREATED, IN NEUROFIBROMATOSIS CONTEXT Link L41 Cristina Octaviana DAIA, Alina-Elena Gherghiceanu, Helene Ivan, Gelu ONOSE - 12 minutes RESEARCH ON NEUROREHABILITATION RESULTS IN VERTEBRO-MEDULLARY POST-TRAUMATIC CONDITIONS ASSOCIATING FRACTURES, IN A POLITRAMATIC CONTEXT Link L42 Ali-Osman Saglam, Alexandru G. Stavrica, Ana Carmen Albeşteanu, Laura Georgiana Popescu, Luminita Nirlu, Gelu Onose - 12 minutes MEDICAL-REHABILITATION ENDEAVORS, CARE INTERVENTIONS AND CONNOTATIONS OF A MEDICO-SOCIAL TYPE, IN A COMPLEX POLYPATHOLOGICAL CASE: PARAPLEGIA, SPONDYLODISCITIS, KIDNEY FAILURE IN THE HAEMODIALYSIS STAGE AND BILATERAL NEPHROSTOMIES AFTER SURGICALY TREATTED BLADDER NEOPLASM. Link L43 Sorina Petrușan-Dunca, Liviu Lazăr, Tiberiu-Dorin Corha - 12 minutes INDICATIONS AND LIMITIS OF REHABILITATION TREATMENT FOR LUMBAR DISCOPATHY IN PREGNACY Link L44 Q & A – 8 minutes Authors Title Abstract Elena Silvia SHELBY, Mihaela AXENTE, Liliana PĂDURE - 12 minutes CHARCOT MARIE TOOTH DISEASE. CASE PRESENTATION. GENETIC DISEASES WHICH REQUIRE physical rehabilitation Link L45 Link L46 Simona Carniciu - 12 minutes Influence of nutrition and exercise on the use of different energy substrates in the prevention of metabolic diseases Link L81 Simona-Isabelle STOICA, Carmen Elena CHIPĂRUȘ, Magdalena Vasilica LAPADAT, George PĂTRAȘCU, Gelu ONOSE - 12 minutes CLINICAL-THERAPEUTIC AND RECUPERATORY FEATURES IN A PATIENT WITH PLURIPATOLOGY: ISCHEMIC STROKE, ISCHEMIC HEART DISEASE (SECHELAR MYOCARDIAL INFARCTION), CHRONIC KIDNEY DISEASE AND MONSTROUS GOUT- CASE PRESENTATION Link L47 Eugen BITERE, Mihaiela CHICU - 12 minutes PATHOPHYSIOLOGY OF ATHEROGENESIS AND CARDIOVASCULAR RISK IN CHRONIC INFLAMMATORY DISEASES Link L48 Victoria CHIHAI, Alisa TĂBÎRȚĂ, Anastasia ROTĂREANU, Vladlena MIHAILOV, Mihail CÎRÎM - 12 minutes THE IMPACT OF ACTIVE KINETIC PROGRAMS ON CLINICAL AND FUNCTIONAL STATUS ADRESSED TO PEOPLE WITH DIABETIC ANGIOPATHY Link L49 Ana-Maria Fătu, Ana Maria Pâslaru, Valerica Creangă-Zărnescu, Alexandru Nechifor, Mădălina Verenca, Mihaela Lungu, Anamaria Ciubară - 12 minutes THE IMPACT OF COGNITIVE DECLINE ON STROKE REHABILITATION Link L50 Alisa TĂBÎRŢĂ, Victoria CHIHAI - 12 minutes THE USE OF TRINITY AMPUTATION AND PROSTHESIS EXPERIENCE SCALES IN THE COMPLEX REHABILITATION OF PERSONS WITH LOWER LIBM AMPUTATION Link L51 Ilie ONU, Mariana ROTARIU, Elvina MIHALAȘ, Călin CORCIOVĂ - 12 minutes STUDY ON EFFICIENCY OF ELECTROTHERAPY AND PHYSIOTHERAPY MANAGEMENT ON HERNIATED LUMBAR DISC Link L52 María G. Souto Figueroa, Antonio Freire Magariños RESEARCH - SURVEY TO 142 THERMALIST WHO HAVE PERFORMED A THERMAL CURE AT THE BATHS OF BAÑOS DE MOLGAS (OURENSE) AND AUGAS SANTAS (LUGO) - GALICIA – SPAIN Link L53 Q & A – 12 minutes Authors Title Abstract Irina Ionica - 12 minutes ACUPUNCTURE IN REHABILITATION - A GENERAL VIEW Link L54 Denisa COAJĂ, Gabriela DOGARU - 12 minutes THE HEALTH BENEFITS OF FINNISH SAUNA BATHING Link L55 Otilia ROGOVEANU, Florin GHERGHINA , Rodica TRAISTARU - 12 minutes SPINA BIFIDA – FUNCTIONAL REHABILITATION METHODS IN CHILDREN Link L56 Mihaela DUTESCU, Raluca OLTEAN, Petru NENADICI - 12 minutes GEOAGIU BAI RESORT - OUR EXPERIENCE OF MEDICAL REHABILITATION TREATMENT Link L57 Dumitru MIHĂILĂ, SILISTEANU Sinziana Calina, ȚICULEANU Mihaela (Ciurlică) - 12 minutes THE METEOROLOGICAL COMPLEX AND THE HUMAN PATHOLOGY. CASE STUDY – SUCEAVA COUNTY Link L58 Mariana VARODI, Gabriela DOGARU - 12 minutes EFFICACY OF NATURAL THERAPEUTIC FACTORS FROM OCNA SIBIULUI SPA RESORT IN GONARTHROSIS Link L59 Boróka-Panna GÁSPÁR, Gabriela DOGARU - 12 minutes BONE HYDRATION AND MINERAL WATERS Link L60 CALIN BOCHIS, LIVIU LAZAR, HORAȚIU URECHESCU, CARMEN NISTOR-CSEPPENTO, FELICIA CIOARA, NICOLETA PASCALAU, ALIN BOCHIS , DIANA IOVANOVICI - 12 minutes CORRELATION OF VAS PAIN SCORE WITH FUNCTION AT THE PACIENTS WITH TEMPOROMANDIBULAR OSTEOARTHRITIS Link L61 Marian Romeo CALIN, Ileana RADULESCU, Mihaela Antonina CALIN, Elena Roxana ALMASAN - 12 minutes RADIOMETRIC ASSESSMENT OF PELOID AND SALT WATER USED FOR THERAPY AND BALNEARY TRATAMENT FROM TECHIRGHIOL LAKE, ROMANIA Link L62 Q & A – 12 minutes Authors Title Abstract Cristina PETRESCU - 12 minutes EFFICACY NATURAL THERAPEUTIC FACTORS FROM BAILE GOVORA IN BRONCHIAL ASTHMA Link L63 PARASCHIVA POSTOLACHE - 12 minutes PULMONARY REHABILITATION SAVES LIVES AND IMPROVES LIFE Link L64 DOINA-CLEMENTINA COJOCARU, PARASCHIVA POSTOLACHE - 12 minutes ASSESSMENT OF DYSPNEA IN PULMONARY REHABILITATION PRACTICE Link L65 PARASCHIVA POSTOLACHE, CRISTINA LACATUSI - 12 minutes HELIOTHERAPY, CLIMATOTHERAPY AND PATIENTS WITH RESPIRATORY DISEASES Link L66 CONSTANTIN MUNTEANU, DIANA MUNTEANU, MIHAIL HOTETEU - 12 minutes BIOLOGICAL INSIGHTS OF SPELEOTHERAPY Link L67 PARASCHIVA POSTOLACHE, CRISTINA LACATUSI, DOINA-CLEMENTINA COJOCARU - 12 minutes AEROSOLS AND BREATHING Link L68 PARASCHIVA POSTOLACHE, MADALINA ZEBEGA - 12 minutes RESPIRATORY MUSCLE TRAINING AND RESPIRATORY REHABILITATION Link L69 CRISTI FRENȚ, GEORGETA MAIORESCU - 12 minutes DEVELOPMENTS AND INVOLUTIONS OF TOURISM IN THE SPA RESORTS IN ROMANIA AND THE CASE STUDY FOR LACUL SĂRAT RESORT Link L70 Dragos Arotaritei, Andrei Gheorghita, Mariana Rotariu, Marius Turnea - 12 minutes MATHEMATICAL MODEL OF SULPHUR ABSORPTION PROCESS, A POSSIBLE APPLICATION IN CURE WITH SULPHUROUS MINERAL WATER Link L71 Q & A – 12 minutes Authors Title Abstract Mihai Ciocanu, Anișoara Cimil - 12 minutes THE EFFICIENCY OF THE REHABILITATION SERVICE IN HOSPITAL CONDITIONS Link L72 Sinziana Calina SILIȘTEANU, Andrei Emanuel SILIȘTEANU - 12 minutes TRIAL ON THE WATER CONSUMPTION BY THE PERSONS IN THE GROUP AGED 19-30 YEARS Link L73 Liviu Lazăr, Florin Marcu, Felicia Cioară, Carmen Nistor Csepentö - 12 minutes MANAGEMENT OF SPECIAL ARTERIAL DISEASES Link L74 Mihaela-Carmen SUCEVEANU, Paul-Nicolae SUCEVEANU - 12 minutes EVOLUTION OF CARDIOVASCULAR RISK FACTORS AFTER MORE THAN 2 PERIODIC HOSPITALIZATIONS IN THE COVASNA HOSPITAL FOR CARDIOVASCULAR REHABILITATION Link L75 Mihaela DUTESCU, Adina TRAILA, Margit SERBAN, Emilia URSU, Dorina MIU, Ioana MALITA, Bianca CIRESAN - 12 minutes THE EFFICIENCY OF MEDICAL REHABILITATION TREATMENT IN PATIENTS WITH HEMOPHILIA AFTER SURGICAL ORTHOPEDIC INTERVENTIONS - THE EXPERIENCE OF "CRISTIAN SERBAN" BUZIAS CENTER Link L76 Dorin-Gheorghe TRIFF, Simona POP - 12 minutes PRECURSORS OF BALENOLOGY EDUCATION IN ROMANIA Link L77 Dr. Eugenia Dumitrescu, Dr. Carmen Enescu - 12 minutes ANTIALLERGIC PROCEDURES MOST COMMONLY USED IN PHYSICAL RECOVERY MEDICINE AND BALNEOLOGY Link L78 Mihail HOTETEU, Constantin MUNTEANU, Diana MUNTEANU, Gabriela DOGARU - 12 minutes PELOIDS - PERSPECTIVES ON RESEARCH AND FUTURE PLANS Link L79 Liliana Stanciu, Daniela Profir, Viorica Marin, Doinița Oprea, Elena Ionescu, Elena Almășan, Carmen Oprea - 12 minutes THE SCIENCE OF AGING WELL Link L80 Q & A – 12 minutes POSTER SESSION Authors Title Abstract Andra Pintilie, Liliana Pădure, Andrada Mirea, Corina Sporea Proprioceptive Functional Vibration Stimulation as therapeutic tool in spasticity management of jump gait pattern of spastic diplegic children with cerebral palsy Poster 1 Andra Pintilie, Liliana Pădure, Andrada Mirea, Corina Sporea Modern computerized techniques for gait’s functional evaluation through a specialized wireless inertial sensor – premise for orthopedic corrective shoes wear in children with gait disorders secondary to Cerebral Palsy Poster 2 Ana Maria PÂSLARU, Ana Maria FĂTU, Anamaria CIUBARĂ The role of medical recovery in oncology Poster 3 Maria Veronica MORCOV, Liliana PADURE, Cristian Gabriel MORCOV, Gelu ONOSE Exercises availed by sensor-based computer advanced devices: part of the interactive cognitive recovery – adjuvant of the therapy applied in the Centrul National Clinic de Recuperare Neuropsihomotorie Copii “Dr. N. Robanescu” Poster 4 Avram Mihai, Liliana Padure, Gelu Onose Theoretical fundamentals and conceptual premise for advanced proprioceptive and sensory stimulus apparatus, with sequential evaluation for the treatment of the recuperator in the equilibrium disorder, from Cerebral Palsy (PC) casuistry. Poster 5 Andrada MIREA, Gelu ONOSE, Madalina LEANCA, Florin-Petru GRIGORAS, Mihaela AXENTE, Liliana PADURE, Corina SPOREA Respiratory management in patients with rare progressive neuromuscular diseases Poster 6 Mihaela MANDU, Elena CONSTANTIN, Cristinel Dumitru BADIU, Cosmin Daniel OPREA, Cristina DAIA, Gelu ONOSE Presentation od the Fugl Meyer Assesment scale and related suggesttion in order to enhance its level of implementation in inner neurorehabilitation units Poster 7 ALEXANDRU BOGDAN-CĂTĂLIN, ALINA SIMONA ȘOVREA, ANNE-MARIE CONSTANTIN, ADINA BIANCA BOȘCA, CARMEN GEORGIU, MONICA POPA Complex oral rehabilitation in an elderly patient with periodontal disease who exercises regularly Poster 8 Dorin-Gheorghe TRIFF, Simona POP MORBIDITY BY OSTEO-MUSCULO-ARTICULAR DISEASES IN THE OCCUPATIONAL ENVIRONMENT IN MARAMURES COUNTY. THE IMPORTANCE OF MEDICAL RECOVERY AND RECORDS THROUGH ELECTRONIC DATA MANAGEMENT SYSTEMS Poster 9 Authors Title Abstract Mihaela Antonina CALIN, Marian Romeo CALIN, Constantin Munteanu New evidence on the effects of pelotherapy on local microcirculation Poster 10 Izabela Lazar, Gabriela Dogaru The effectiveness of balnear treatment in the management of psoriasis Poster 11 Dorin-Gheorghe TRIFF, Mușata Dacia BOCOȘ CORRELATIONS OF OSTEOMUSCULO-ARTICULAR DISEASES WITH WORK ABILITY, PERCEIVED SELF EFFICACY AND OCCUPATIONAL STRESSORS AT A REGULAR MEDICAL CHECK-UP IN PRE-UNIVERSITY EDUCATION UNITS Poster 12 Doroteea Teoibas-Serban, Valentin Stan, Dan Blendea PREVENTION OF LUMBAR DISC HERNIATION IN YOUNG ADULT POPULATION: A PRACTICAL APPROACH Poster 13 Călin Corciovă, Cătălina Luca, Robert Fuior, Flavia Corciovă Development a Monitoring Device for Arm Rehabilitation Poster 14 Simona Daniela Zavalichi, Marius Andrei Zavalichi, Sorin Stratulat, Florin Mitu Cardiovascular rehabilitation: challenges in a case of acute myocardial infarction and familial hypercholesterolemia Poster 15 Simona-Isabelle STOICA, Ioana TANASE, Gelu ONOSE Influences and consequences resulting in addictions in general and to chronic alcoholism, especially for patients with spinal cord injury Poster 16 Roxana Dumitrascu, Ana Maria Bumbea, Carmen Albu, Otilia Rogoveanu, Catalin Bostina, Rodica Traistaru, Borcan Madalina BIOMECHANICAL DYSFUNCTIONS OF THE FOOT – MAJOR IMPACT ON THE KINETIC CHAIN Poster 17 Otilia Rogoveanu, Gherghina Florin, Caimac Dan, Trifu Ramona, Cruceru Andra, Beldie C Medical rehabilitation in post-stroke spastic hemiparesis in young patients Poster 18 Ana Maria Bumbea, Otilia Rogoveanu, Roxana Dumitrascu, Bogdan Stefan Bumbea, Catalin Bostina, Albu Carmen, Borcan Madalina PERIPHERAL MAGNETIC STIMULATION - A CHALLENGE IN VERTEBRAL POSTTRAUMATIC RECOVERY Poster 19 Authors Title Abstract Dănuţ PĂCURAR, Mihaela Ramona PĂCURAR KNEE ARTHROPLASTY RECOVERY OF AN CANCER PATIENT Poster 20 Dănuţ PĂCURAR, Mihaela Ramona PĂCURAR THE IMPACT OF OSTEOARTICULAR PATHOLOGY IN POSTSTROKE RECOVERY Poster 21 Borcan Madalina, Bumbea Ana Maria, Bostina Catalin, Radoi Georgeta, Bumbea Bogdan EFFICIENT REHABILITATION TREATMENT IN A CASE WITH MAV-RUPTA MALFORMATION Poster 22 Demirgian Sibel, Nan Simona, Lulea Adela, Lascu Ioana, Marin Viorica Is possible the management of synovial chondromatosis of the hip by arthroscopy or complex balneal treament? Poster 23 Mădălina Codruța Verenca, Sorina Mierlan, Claudiu Elisei Tanase The Efficiency of Medical Treatment of Scoliosis – Paediatrics Poster 24 Florentina NASTASE¹, Alin Laurentiu TATU², Madalina Codruta VERENCA¹ Orthopaedic manifestations of Neurofibromatosis type 1 – case report Poster 25 Simona CARNICIU, Anatolie BACIU, Vasile FEDAS The attenuation of energy metabolic misbalance by means of aerobic, hypoxic, hypothermal adaptation and environment optimization at recreation resort center Poster 26 Irina Anghel, Alexandra Sporici, Magdalena Lapadat, Gelu Onose Complex clinical and therapeutic rehabilitation approach of a patient with Complete AIS/Frankel A quadriplegia post cervical spinal cord injury after accidental fall off a trailer and multiple complications occurring during disease progression - case study Poster 27 Ana-Maria Pelin , Monica Georgescu , Cristina Stefanescu , Costinela Georgescu Molecular treatment strategies in osteoporosis Poster 28