Journal articles on the topic 'And Donkey Kong Jr'

AbstractCrossFit® is a competitive sport and fitness modality characterized by multiple physical capabilities and multi-joint movements. This study aimed to analyse and classify variables related to CrossFit® competitors’ specific performance. Fifteen male CrossFit® competitors were selected (n = 15; 30.57 ± 5.5 years; 1.76 ± 0.06 m; 78.55 ± 9.12 kg). Mean values were obtained for body mass index (25.3 ± 2.14 kg/m2), 4 skinfolds, 1 repetition maximum in the squat (137.60 ± 19.65 kg) and the bench press (101.67 ± 10.64 kg), maximum pull-ups (18.87 ± 5.05), sit-ups in 60 s (46.60 ± 4.22), peak power in the countermovement jump (3908.04 ± 423.68 W), VO2max with a shuttle run test (47.70 ± 4.79 ml kg-1·min-1), and time in the Workout of the Day (WOD) “Fran” (337.13 ± 119.19 s) and “Donkey Kong” (417.47 ± 98.44 s) components. Principal component analysis was conducted to classify variables and to select those most related to each new component (“strength and muscle mass”, “adiposity” and “aerobic capacity”). The correlation matrix was analysed, indicating significant correlations between “Donkey Kong” and VO2max (r = -.675; p “ .01), suprailiac skinfold (r = .713; p “ .01) and sit-ups (r = -.563; p “ .05); and between “Fran” and squat (r = -.528; p “ .05). Three important components characterizing CrossFit® competitors were identified: “strength and muscle mass”, low “adiposity” and “aerobic capacity”. Significant relationships between morphofunctional variables and Crossfit® performance were found in Crossfit® competitors.

Permainan atau yang sering disebut games merupakan salah satu aktivitas yang sering dilakukan olehkebanyakan orang dalam mencari hiburan dan kesenangan. Perkembangan games dari masa kemasa semakinberagam jenis dan aktivitasnya. Mulai dari games tradisonal yang dilakukan secara konvensional sampaidengan games yang dilakukan dengan teknologi.Dilihat dari perkembangan teknologi, games bukan lagisebagai aktivitas yang sulit untuk dimainkan, games dapat dimainkan dimana saja melalui perangkatteknologi apapun.Perkembangan games selain dari teknologi, juga sangat berkembang dari segi jenis/genredari games itu sendiri, yang menyesuaikan dengan kebutuhan pengguna/player. Berbagai genre game punmuncul, seperti genre action, adventure, RPG, simulasi, strategi dan lainnya.Pada penelitian kali ini penelitiberfokus kepada subgenre games action yaitu platform games. Beberapa platform games yang terkenal yaituMario bros, Jumping Flash, Donkey Kong. Games yang ringan tetapi memiliki unsur kesenangan danmenantang bagi yang memainkannya. Peneliti merasa tertarik dalam meneliti bagaimana membangun sebuahgame platform dengan teknik pengembangan game GDLC (Game Development Life Cycle), dengan modelperancangan game menggunakan model UML(Unifield Modeling Language). Game yang akandikembangkan yaitu game platform yang merupakan subgenre dari genre actiongames yang dapat dijalankanpada perangkat mobile phone berbasis android.

The disease caused by Influenza viruses has been well known for a very long time. In the recent period there has been noted an occurrence of pandemics caused by Influenza viruses type A with a high rate of mortality. The ongoing pandemic caused by avian influenza virus serotype H9N9 began in Hong Kong in 1992, and another pandemic caused by serotype H5N1 began in China (Hong Kong) in 1999. The world wide spreading of these viruses occurred due to migratory birds. Avian influenza was confirmed in Serbia in 2007. The goal of this study was to examine whether the avian influenza viruses type A circulate in the region of the Obedska bara marsh, which is a famous resort for many birds in Serbia, as well as many birds migrating from Europe to Africa and vice versa. The samples of blood sera of many animal species (123 samples from fowl, 64 samples from donkeys, 40 samples from horses) were tested by serologic reaction of inhibition of haemmaglutination (IHA) for the presence of antibodies to influenza A subtypes H5N1, H5N2, H5N3, H7N1 and H7N2. Also, the samples of blood sera of experimental chicken exposed to wild life in Obedska bara (sentinel species) were tested. Antibodies to subtypes H5N1, H5N2, H5N3, H7N1 and H7N2 were found in chicken from Dec, Boljevci, Petrovcic and Kupinovo villages but no antibodies were found in blood sera from hams from Dobanovci, Jakovo, Becmen and Surcin villages. From 23 samples from ducks antibodies were detected in 3 samples, and from 22 geese blood sera antibodies were found in 4 samples. From a total of 40 horse blood sera tested one was tested positive, and from 64 donkey sera 17 were positive for the presence of antibodies for avian influenza type A. In blood sera of experimental chicken antibodies were found by subtype H5N1 with corrections with H5N2 and H7N1.

In early July 2004, a severe crown rot of Canaan fir (Abies balsamea var. phanerolepis Fern.) was reported to the Virginia Cooperative Extension, Frederick County Office, and subsequently to the Virginia Tech Disease Clinic in Virginia Beach. One thousand five-year-old Canaan fir transplants (approximately 11 mm in caliper and 31 cm high) had been purchased from a tree nursery in Oregon and planted in the field in Frederick County, VA, in April of 2004. The field site had not been cultivated for 4 years after an apple orchard had been removed in 2000. By mid-May, needle browning had become serious, affecting the lower crown first. By August, transplants had suffered 40% mortality. Basal stems of affected plants were obviously discolored. Root and basal stem samples from several infected plants were then cultured on PARP-V8 agar on three different dates. Phytophthora sp. isolates were recovered from all stem samples but none from the roots. These isolates produced a large number of papillate sporangia that were caducous with short pedicels. Abundant oogonia with paragynous antheridia formed oospores directly on isolation plates within 7 days. The isolates were keyed as P. cactorum (2). This identification was confirmed using a single-strand-conformation polymorphism analysis of ribosomal DNA internal transcribed spacer (ITS)-1 (4). It appears that the source of inoculum was P. cactorum associated with the previous apple crop, since Canaan fir from the same transplant lot planted in a nearby field without a history of apples remained healthy. P. cactorum has been reported to cause root rot of noble fir (A. procera Rhedo), Pacific silver fir (A. amabilis (Dougl.) Forbes), and Shasta red fir (A. magnifica var. shastensis Lemm.) in the Pacific Northwest (3). It has also caused crown rot of Fraser fir (A. fraseri (Pursh) Poir.), noble fir, white fir (A. concolor (Gord. & Glend.) Lindl.), and balsam fir (A. balsamea (L.) Mill.) in Michigan (1). To our knowledge, this is the first report of P. cactorum attacking Canaan fir. Canaan fir currently is a recommended Christmas tree species for areas where Fraser fir does not do well due to root rot caused by Phytophthora cinnamomi. This study suggests that such a recommendation must be used with caution. Growing Canaan fir trees in P. cactorum-infested soil could result in devastating crop losses as reported in this note. References: (1) G. C. Adams, Jr. and A. Bielenin. Plant Dis. 72:79, 1988. (2) D. C. Erwin and O. K. Ribeiro. Phytophthora Diseases Worldwide. The American Phytopathological Society, St. Paul, MN, 1996. (3) P. B. Hamm and E. M. Hansen. Eur. J. For. Pathol. 12:167, 1982. (4) P. Kong et al. Fungal Genet. Biol. 39:238, 2003.

BackgroundMultiple genomics-based biomarkers of response to immune checkpoint inhibition have been reported or proposed, including tumor mutation/neoantigen frequency, PD-L1 expression, T cell receptor repertoire clonality, interferon gene signature expression, HLA expression, and others.1 Although genomics associations of response have been reported, the primary studies have used a variety of data generation and processing techniques. There is a need for data harmonization and assessment of generalizability of potential biomarkers across multiple datasets.MethodsWe acquired patient-level RNA sequencing FASTQ data files from 10 data sets reported in seven pan-cancer PD-1 and CTLA-4 immune checkpoint inhibition trials with matched clinical annotations.2–7 We applied a common bioinformatics workflow for quality control, mapping to reference (STAR), generating gene expression matrices (SALMON), T cell receptor repertoire inference (MiXCR), extraction of immune gene signatures and immune subtypes,8 and differential gene expression analysis (DESeq2). We analyzed i) immunogenomics features proposed as biomarkers, and ii) gene expression signatures built from each trial for association with overall survival across the set of trials using univariable Cox proportional hazards regression. In all, we assessed 9 total immunogenomics features/signatures. P-values were adjusted for multiple testing using the Benjamini-Hochberg method.ResultsOf the 9 immunogenomics features assessed, cytolytic activity score and expression of the Follicular Dendritic Cell Secreted Protein gene (FDCSP) were associated with survival in two of seven studies, respectively (adjusted p < 0.05) (figure 1). No proposed biomarkers were significantly associated with survival in more than two studies. The sets of genes significantly associated with clinical benefit across the studies were highly disjoint, with only three genes significant in three studies and thirteen genes significant in two studies (figure 2). No genes were significantly associated with clinical benefit in more than three of seven studies.Abstract 75 Figure 1Association of immunogenomics features and proposed biomarkers with survival in 10 publicly available datasets from 7 clinical trials with immune checkpoint blockade. Nine immunogenomics features were tested in 10 publicly available RNAseq data sets from 7 published clinical trials with immune checkpoint blockade for their correlation with outcome. SKCM, skin cutaneous melanoma; BLCA, bladder cancer; Kidney, kidney cancer; Ureter, ureteral cancer; GBM, glioblastomaAbstract 75 Figure 2Association of gene expression of single genes with survival in 10 publicly available datasets from 7 clinical trials with immune checkpoint inhibitorsConclusionsNo proposed biomarkers were highly generalizable across studies. We expect that integrated modeling incorporating multiple immunogenomics features will be required to build a robust and generalizable biomarker for ICI response. Further work is needed to analyze determinants of response and clinical benefit.AcknowledgementsWe would like to thank SITC for funding for this work as part of the Sparkathon TimIOS collaborative project.ReferencesZappasodi R, Wolchok JD, Merghoub T. 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The model of Late Pleistocene-Holocene sequence stratigraphy of the subaqueous Red River delta and the adjacent shelf is proposed by interpretation of high-resolution seismic documents and comparison with previous research results on Holocene sedimentary evolution on the delta plain. Four units (U1, U2, U3, and U4) and four sequence stratigraphic surfaces (SB1, TS, TRS and MFS) were determined. The formation of these units and surfaces is related to the global sea-level change in Late Pleistocene-Holocene. SB1, defined as the sequence boundary, was generated by subaerial processes during the Late Pleistocene regression and could be remolded partially or significantly by transgressive ravinement processes subsequently. The basal unit U1 (fluvial formations) within incised valleys is arranged into the lowstand systems tract (LST) formed in the early slow sea-level rise ~19-14.5 cal.kyr BP, the U2 unit is arranged into the early transgressive systems tract (E-TST) deposited mainly within incised-valleys under the tide-influenced river to estuarine conditions in the rapid sea-level rise ~14.5-9 cal.kyr BP, the U3 unit is arranged into the late transgressive systems tract (L-TST) deposited widely on the continental shelf in the fully marine condition during the late sea-level rise ~9-7 cal.kyr BP, and the U4 unit represents for the highstand systems tract (HST) with clinoform structure surrounding the modern delta coast, extending to the water depth of 25-30 m, developed by sediments from the Red River system in ~3-0 cal.kyr BP.ReferencesBadley M.E., 1985. Practical Seismic Interpretation. International Human Resources Development Corporation, Boston, 266p.Bergh G.D. 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The pandemic of COVID-19 has afflicted every individual and has initiated a cascade of directly or indirectly involved events in precipitating mental health issues. The human species is a wanderer and hunter-gatherer by nature, and physical social distancing and nationwide lockdown have confined an individual to physical isolation. The present review article was conceived to address psychosocial and other issues and their aetiology related to the current pandemic of COVID-19. The elderly age group has most suffered the wrath of SARS-CoV-2, and social isolation as a preventive measure may further induce mental health issues. Animal model studies have demonstrated an inappropriate interacting endogenous neurotransmitter milieu of dopamine, serotonin, glutamate, and opioids, induced by social isolation that could probably lead to observable phenomena of deviant psychosocial behavior. Conflicting and manipulated information related to COVID-19 on social media has also been recognized as a global threat. Psychological stress during the current pandemic in frontline health care workers, migrant workers, children, and adolescents is also a serious concern. Mental health issues in the current situation could also be induced by being quarantined, uncertainty in business, jobs, economy, hampered academic activities, increased screen time on social media, and domestic violence incidences. The gravity of mental health issues associated with the pandemic of COVID-19 should be identified at the earliest. Mental health organization dedicated to current and future pandemics should be established along with Government policies addressing psychological issues to prevent and treat mental health issues need to be developed. References World Health Organization (WHO) Coronavirus Disease (COVID-19) Dashboard. 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Whereas most of Nintendo’s music from the 1990s used basic looping structure and simple chiptune-reminiscent sounds, Donkey Kong Country (1994), composed by British composer David Wise rather than by Nintendo’s in-house composition team, featured texturally more complex music, including features characteristic of the 1970s/80s progressive rock style such as short repeated melodies and chord progressions with layering (Collins 44). For example, in “Fear Factory” (Figure 1), we hear a repeated chord progression of (VI, iv, i) underneath a faster eighth-note melody. Very little harmonic movement occurs and the focus is more on the melodic layers that occur in this top voice. In addition, “Fear Factory” includes unconventional punk, “mechanic/industrial”, and “glitch” noises that emphasize melodic content (https://www.youtube.com/watch?v=v18pEFQb3EM&t=45s). As William Cheng discusses in Sound Play, the use of such unconventional sounds often contribute to a feeling of dissociation and alienation in the player, and create a divide between diegetic (that is, music the characters are aware of) and non-diegetic (that is, “background” music) soundscapes (Cheng 98-9). While this is not a direct element of prog-rock, both industrial and prog-rock music styles feature a strong focus on texture. Collins speculates that this may have been an attempt by Nintendo to capitalize on the ‘edgier’ market of other game producers such as Sega (Collins 46). In this paper, an analysis of form, melodic structure, and instrumentation from Donkey Kong Country’s “Treetop Rock” and “Fear Factory” will demonstrate features atypical of Nintendo style, which normally features catchy tunes, simple instrumentation, and pop-inspired harmonies. Figure 1: e-: VI iv I VI ivBibliography Cheng, William. Sound Play: Video Games and the Musical Imagination. The Oxford Music/media Series. Oxford: Oxford University Press, 2014. Collins, Karen. Game Sound an Introduction to the History, and Practice of Video Game Music and Sound Design. Cambridge: MIT Press, 2008.

In this paper we will analyze the concept of incoherency that has been put forward by Jesper Juul in Half-Real (2005). Juul provides a paradigmatic example of an incoherency in the game Donkey Kong. The main character of the narrative, Mario, can die and subsequently reappear at the beginning of the level. However, when pressed to describe the narrative of the game, most players would not say that Mario ever died. The respawn is attributed to the game rules instead. Juul calls this phenomenon an incoherency of the game’s fictional world. We claim that the precise nature of the concept of incoherency is unclear, and that Juul's connection between incoherency and contradictions is incorrect. Furthermore, we argue that Wesp incorrectly identifies the concept with 'incompleteness' in his response to Juul (Wesp, 2014). Our clarification argues that what is noteworthy in 'incoherency' is not some aspect of the fictional world, like it being contradictory or incomplete, but how the player interprets the fiction. Subsequently, we provide an explanation for what underlies an incoherency by adopting the principle of charity (Davidson 1973). Lastly we discuss how a proper understanding of incoherency can help game designers and how it relates to ludonarrative dissonance (Hocking, 2009).

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Stokes & Paul Fletcher, The production of passives by children with specific language impairment: Acquiring English or Cantonese. Applied Psycholinguistics (Cambridge University Press) 27.2 (2006), 267–299.06–467Leong, Che Kan (U Saskatchewan, Canada; leong@sask.usask.ca), Kit Tai Hau, Pui Wan Cheng & Li Hai Tan, Exploring two-wave reciprocal-structural relations among orthographic knowledge, phonological sensitivity, and reading and spelling of English words by Chinese students. Journal of Educational Psychology (American Psychological Association) 97.4 (2005), 591–600.06–468Macizo, Pedro & M. Teresa Bajo (U Granada, Spain; mbajo@ugr.es), Reading for repetition and reading for translation: Do they involve the same processes?Cognition (Elsevier) 99.1 (2006), 1–34.06–469Mackay, Ian R. & James E. Fleger (U Alabama, USA; jeflege@uab.edu) & Satomi Imai, Evaluating the effects of chronological age and sentence duration on degree of perceived foreign accent. 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Abstract: In this study, the equations for estimating the number of tropical cyclones (TCs) at a 6-month lead-time in the Vietnam East Sea (VES) have been developed and tested. Three multivariate linear regression models in which regression coefficients were determined by different methods, including 1) method of least squares (MLR), 2) minimum absolute deviation method (LAD), 3) minimax method (LMV). The artificial neural network model (ANN) and some combinations of the above regression models were also used. The VES was divided into the northern region above 15ºN (VES_N15) and the southern one below that latitude (VES_S15). The number of TCs was calculated from the data of the Japan Regional Specialized Meteorological Center (RMSC) for the period 1981-2017. Principal components of the 14 climate indicators were selected as predictors. Results for the training period showed that the ANN model performed best in all 12 times of forecasts, following by the ANN-MLR combination. The poorest result was obtained with the LMV model. Results for the independent dataset showed that the number of adequate forecasts based on the MSSS scores decreased sharply compared to the training period and the models generated generally similar errors. The MLR model tended to give out the best results. Better-forecast results were obtained in the VES_N15 region followed by the VES and then the VES_S15 regions. Keywords: Tropical cyclone, Seasonal prediction, Vietnam East Sea (VES). References: [1] W. Landsea Christopher, Gerald D. Bell, William M. Gray, Stanley B. Goldenberg, The extremely active 1995 Atlantic hurricane season: Environmental conditions and verification of seasonal forecasts, Mon. Wea. Rev. 126 (1998) 1174-1193[2] W. Landsea Christopher, William M. Gray, Paul W. Mielke, Jr, Kenneth J. Berry, Seasonal Forecasting of Atlantic hurricane activity, Weather. 49 (1994) 273-284.[3] M. Gray William, Christopher W. Landsea, Paul W. Mielke, Predicting Atlantic basin seasonal tropical cyclone activity by 1 June, Weather and Forecasting. 9 (1994) 103-115.[4] Neville Nicholls, Chris Landsea, Jon Gill, Recent trends in Australian region tropical cyclone activity, Meteorol. Atmos. Phys. 65 (1998) 197-205.[5] Elsner, James B., Kam-biu Liu, Bethany Kocher, Spatial Variations in Major U.S., Hurricane Activity: Statistics and a Physical Mechanism, J. Climate. 13 (2000) 2293–2305.[6] J. C. L. Chan, Jiuen Shi, Cheukman Lam, Seasonal Forecasting of Tropical Cyclone Activity over the Western North Pacific and the South China Sea. Departmentof Physics and Materials Science, City University of Hong Kong, Kowloon, Hong Kong, China, (1998).[7] J. C. L. Chan, J. E. Shi and C. M. Lam, Seasonal forecasting of tropical cyclone activity over the Western North Pacific and the South China Sea, Wea. Forecasting. 13 (1998) 997-1004.[8] J. C. L. Chan, Tropical cyclone activity over the Western North Pacific associated with El Niño and La Niña events, J. Climate. 13 (2000) 2960-2972.[9] Pao-Shin Chu, Xin Zhao, Chang-Hoi Ho, Hyeong-Seog Kim, Mong-Ming Lu, Joo-Hong Kim, Bayesian forecasting of seasonal typhoon activity: A track-pattern oriented categorization approach, J.Climate. 23 (2010) 6654-6668[10] M. Lu, P.-S. Chu, and Y.-C. Lin, Seasonal prediction of tropical cyclone activity near Taiwan using the Bayesian multivariate regression method, Wea. Forecasting. 25 (2010) 1780–1795.[11] H. J Kwon, W.-J. Lee, S.-H.Won, and E.-J. Cha, Statistical ensemble prediction of the tropical cyclone activity over the Western North Pacific.Geophys. Res. Lett. 34 (2007) L24805. doi:10.1029/2007GL032308[12] J. C. L. Chan, Tropical cyclone activity in the Western North Pacific in relation to the stratospheric quasi-biennial oscillation, Mon. Wea. Rev. 123 (1995) 2567-2571.[13] J. C. L. Chan, Prediction of annual tropical cyclone activity over the Western North Pacific and the South China Sea, Int’l J. Climatol. 15 (1995) 1011-1019.[14] J. C. L. Chan, J. E. Shi and C. M. Lam, Seasonal forecasting of tropical cyclone activity over the Western North Pacific and the South China Sea, Wea.Forecasting. 13 (1998) 997-1004.[15] J.C.L. Chan, J.E. Shi, K.S. Liu, 2001: Improvements in the seasonal forecasting of tropical cyclone activity over the Western North Pacific. Wea. Forecasting, 16, 491-498.[16] J. Klotzbach Philip, Recent developments in statistical prediction of seasonal Atlantic basin tropical cyclone activity, Journal compilation C (2007) Blackwell Munksgaard. DOI: 10.1111/j.1600-0870.2007.00239.x[17] W. Zhang, Y. Zhang, D. Zheng, F. Wang, and L. Xu, Relationship between lightning activity and tropical cyclone intensity over the northwest Pacific, J. Geophys. Res. Atmos. 120 (2015). doi:10.1002/2014JD022334.[18] Phan Van Tan, On the tropical cyclone activity in the Northwest Pacific basin and South China sea in relationship with ENSO, Journal of Science, Vietnam National University, Hanoi, t.XVIII, No1, (2002) 51-58. (In English)[19] Nguyễn Văn Tuyên, Xu hướng hoạt động của xoáy thuận nhiệt đới trên Tây Bắc Thái Bình Dương và biển Đông theo các cách phân loại khác nhau, Tạp chí KTTV. số 559 (2007) tr.4-10.[20] Đinh Bá Duy, Ngô Đức Thành; Phan Văn Tân, 2016, Mối quan hệ giữa ENSO và số lượng, cấp độ Xoáy thuận Nhiệt đới trên khu vực Tây Bắc - Thái Bình Dương, Biển Đông giai đoạn 1951-2015, VNU Journal of Science: Earth and Environmental Sciences, [S.l.], v. 32, n. 3S, sep. (2016) ISSN 2588-1094.[21] Đinh Bá Duy, Ngô Đức Thành, Nguyễn Thị Tuyết, Phạm Thanh Hà, Phan Văn Tân, Đặc điểm hoạt động của Xoáy thuận Nhiệt đới trên khu vực Tây Bắc Thái Bình Dương, Biển Đông và vùng trực tiếp chịu ảnh hưởng trên lãnh thổ Việt Nam giai đoạn 1978-2015, VNU Journal of Science: Earth and Environmental Sciences, [S.l.], v. 32, n. 2, (2016) ISSN 2588-1094.[22] Đinh Văn Ưu, Đánh giá quy luật biến động dài hạn và xu thế biến đổi số lượng bão và áp thấp nhiệt đới trên khu vực Tây Thái Bình Dương, Biển Đông và ven biển Việt Nam, Tạp chí Khoa học ĐHQGHN, Khoa học Tự nhiên và Công nghệ. 25 3S, (2009) 542-550.[23] Nguyễn Văn Hiệp và nnk, Đặc điểm hoạt động của bão ở Tây Bắc Thái Bình Dương và Biển Đông qua số liệu Ibtracs, Tuyển tập báo cáo tại Hội thảo khoa học năm 2016 của Viện Khoa học KTTV & BĐKH, (2006) tr. 9-14.[24] Vũ Thanh Hằng, Ngô Thị Thanh Hương,, Phan Văn Tân, Đặc điểm hoạt động của bão ở vùng biển gần bờ Việt Nam giai đoạn 1945-2007, Tạp chí Khoa học ĐHQGHN, Khoa học Tự nhiên và Công nghệ 26, Số 3S, pp 344‐353, 2010[25] Nguyễn Văn Tuyên, Khả năng dự báo hoạt động mùa bão biển Đông Việt Nam: Phân tích các yếu tố dự báo và nhân tố dự báo có thể (Phần I), Tạp chí KTTV, (số 568) tháng 4 năm 2008, tr.1-8.[26] Nguyễn Văn Tuyên, 2008: Khả năng dự báo hoạt động mùa bão biển Đông Việt Nam: Phân tích các yếu tố dự báo và nhân tố dự báo có thể (Phần II). Tạp chí KTTV, số 571, tháng 7 năm 2008, tr.1-11.[27] Phan Văn Tân, 2009-2010, Nghiên cứu tác động của biến đổi khí hậu toàn cầu đến các yếu tố và hiện tượng khí hậu cực đoan ở Việt Nam, khả năng dự báo và giải pháp chiến lược ứng phó. Đề tài cấp Nhà nước, mã số KC08.29/06-10.[28] https://www.jma.go.jp/jma/jma-eng/jma-center/ rsmc-hp-pub-eg/besttrack.html. [29] https://www.esrl.noaa.gov/ psd/data/climateindices/ list/[30] T. Ngo-Duc, J. Matsumoto, H. Kamimera, and H.H. Bui, Monthly adjustment of Global Satellite Mapping of Precipitation (GSMaP) data over the VuGia–ThuBon River Basin in Central Vietnam using an artificial neural network. Hydrological Research Letters. 7(4), (2013) 85-90. doi:10.3178/hrl.7.85.[31] J. C. L. Chan, J. E. Shi and C. M. Lam, Seasonal forecasting of tropical cyclone activity over the Western North Pacific and the South China Sea, Wea. Forecasting. 13 (1998) 997-1004.[32] E. S. Blake, W. M. Gray, Prediction of August Atlantic Basin Hurricane Activity. Wea. Forecasting. 19 (2004) 1044-1060.[33] P. J. Klotzbachi, W. M. Gray, Extended range forecast of Atlantic seasonal Hurricane activity and U. S. landfall strike probability for 2008, (2007) http://hurricane.atmos. colostate.edu/Forecasts.

This literature review addresses five themes that inform the faculty adequacy standards established by U.S. regional accreditation commissions and provides information about faculty credentials, the relationship between institutional missions and faculty responsibilities; full-time, part-time and contingent faculty; faculty responsibilities, and faculty in disciplinary-based accreditation. This review of literature supports institutions’ responses to the standards for adequacy of full-time faculty in six U.S. regional accreditation commissions. The study’s findings may provide common themes related to faculty adequacy to facilitate the institutions’ definitions and standards for faculty adequacy. The results might inform regional accreditors as they evaluate institutions on this standard. Finally, this study may be of interest to accreditors in other countries as they develop and revise their standards related to faculty adequacy. Keywords Faculty adequacy, accreditation standards, U.S. regional accreditation commissions References [1] Middaugh, M. F. (2002). Faculty productivity: Different strategies for different audiences. Planning For Higher Education, 30(3), 34-43[2] Tincher-Ladner, L., & King, S. (2014). Effects of regional accreditation of full-time faculty on community college graduation rates. Community College Journal of Research and Practice, 38, 947-950.[3] Northwest Commission on Colleges and Universities (NWCCU) (2012). Accreditation standards. Retrieved from http://www.nwccu.org/accreditation/standards-policies/standards/[4] Middle States Commission on Higher Education (MSCHE) (2015). Standards for accreditation and requirements of affiliation ( 13th ed). [5] North Central Association of Colleges and Schools-The Higher Learning Commission (NCA-HLC) (2015). Resource guide: Criteria for accreditation and assumed practices.[6] New England Association of Schools and Colleges Commission on Institutions of Higher Education (NEASC-CIHE) (2011). The standards for accreditation. [7] Southern Association of Colleges and Schools Commission on Colleges (2011). Faculty roster: Instructions for reporting the qualifications of full-time and part-time faculty. [8] WASC Senior College and University Commission (WSCUC) (2013). Handbook of Accreditation. Retrieved at https://www.wscuc.org/book/export/html/924[9] Cohen, A. & Kisker C. (2010). The shaping of American higher education (2nd ed.). San Francisco, CA: Jossey-Bass.[10] Faireweather.J. (2002). The mythologies of faculty productivity. The Journal of Higher Education. 73(1). 26-48[11] Townsend, B. K. (2008). Community college faculty what we know and need to know. Community College Review. 36 (1). 5-24. [12] National Center for Education Statistics, U.S. Department of Education. (2003). Federal programs for education and related activities. In Digest of Education Statistics (Chap. 4). Retrieved from the National Center for Education Statistics Web site: http://nces.ed.gov/programs/digest/d10/tables/dt10_261.asp[13] Middaugh, M. F.(2001). Understanding faculty productivity: Standards and benchmarks for colleges and universities. San Francisco: Jossey-Bass Publishers.[14] Texas Tech University (2006). Faculty responsibility (OP 32.06). Retrieved from http://www.depts.ttu.edu/opmanual/OP32.06.pdf[15] South Plains College (2015). Faculty Handbook. Retrieved from http://www.southplainscollege.edu/employees/manualshandbooks/facultyhandbook.php[16] North Central Association of Colleges and Schools-The Higher Learning Commission (HLC) (2015). Determining qualified faculty through HLC’s criteria for accreditation and assumed practices. Retrieved at https://www.lssu.edu/hlc/documents/QualifiedFacultyGuidelines_2015-08_OPB.pdf[17] Chaden, C. (2013). Engaging faculty in retention: Finding traction through accreditation. New Directions for Higher Education, (161), 91-100. doi: 10.1002/he.20049[18] Williams, T. S. (2011). The unknowning knowers: Faculty and the accreditation process. (Doctoral Dissertation). Available from ProQuest Dissertations & Theses Full Text (Order No. 3476398).[19] Townsend, B.K & Rosser, V.J (2007). Workload issues and measures of faculty productivities. The NEA Higher Education Journal. 7-19[20] Middaugh, M. F. (2011). Measuring faculty productivity: Let's get it right. Chronicle of Higher Education, 58(2), A43-A44.[21] Middaugh, M. F., Kelly, H. A., & Walters, A. M. (2008). The role of institutional research in understanding and describing faculty work. New Directions for Higher Education, (141), 41-56. doi:10.1002/he.292[22] Maxey, D. D., & Kezar, A. K. (2015). Revealing opportunities and obstacles for changing non-tenure-track faculty practices: An examination of stakeholders' awareness of institutional contradictions. Journal of Higher Education, 86(4), 564-594.[23] Marsh, F. K. (2010). High performance team: Building a business program with part- and full-time faculty. Journal of Education for Business, 85(4), 187-194. doi:10.1080/08832320903252421[24] Elman, S. E. (2003). A regional accreditation perspective on contingent faculty appointments. New Directions for Higher Education, (123), 71.[25] Gerlich, R. N., & Sollosy, M. (2010). Predicting assessment outcomes: The effect of full-time and part-time faculty. Journal of Case Studies in Accreditation and Assessment, 1-9[26] Speer, C. N. (2013). Perceptions of employment and use of part-time faculty among chief instructional officers at southern association of colleges and schools-accredited public associate's colleges. (Doctoral Dissertation). Available from ProQuest Dissertations & Theses Full Text. (Order No. 3612131)[27] Hedrick, D. D., Henson, S. E., Krieg, J. M., & Wassell Jr., C. S. (2010). The effects of AACSB accreditation on faculty salaries and productivity. Journal of Education for Business, 85(5), 284-291. doi:10.1080/08832320903449543[28] Bell, R. L., & Joyce, M. P. (2011). Comparing business faculty's salaries by rank and gender: Does AACSB accreditation really make a difference? Academy of Educational Leadership Journal, 15(2), 19-40.[29] Koys, D. J. (2008). Judging academic qualifications, professional qualifications, and participation of faculty using AACSB guidelines. Journal of Education for Business, 83(4), 207-213.[30] Boronico, J., Murdy, J., & Kong, X. (2014). Faculty sufficiency and AACSB accreditation compliance within a global university: A mathematical modeling approach. American Journal of Business Education, 7(3), 213-218. [31] Bộ Giáo dục và Đào tạo (2014). Thông thư số 36/2014/TTLT-BGDĐT-BNV ngày 28/11/2014 về Quy định mã số và tiêu chuẩn chức danh nghề nghiệp viên chức giảng dạy trong các cơ sở giáo dục đại học công lập. [32] Chính Phủ (2015). Nghị định chính phủ số 73/2015/NĐ-CP ngày 08/09/2015 về Quy định tiêu chuẩn phân tầng, khung xếp hạng và tiêu chuẩn xếp hạng cơ sở giáo dục đại học. [33] Cục quản lý chất lượng (2018). Thông thư số 768/QLCL-KĐCLGD ngày 20/04/2018 về Hướng dẫn đánh giá theo bộ tiêu chuẩn đánh giá chất lượng cơ sỏ giáo dục đại học.

Introdução: A osteoartrose é definida como uma patologia de aspecto crônico-degenerativa que agride a cartilagem articular, gerando dor, edema, rigidez matinal, redução da amplitude de movimento e influenciando diretamente na capacidade funcional e em aspectos da qualidade de vida. Objetivo: Investigar o perfil sociodemográfico e o impacto da osteoartrose de joelho na capacidade funcional e qualidade de vida dos pacientes residentes da Cidade de Serra Talhada - PE. Material e método: Trata-se de um estudo descritivo, de corte transversal e natureza quantitativa, que foi realizado na rede municipal de fisioterapia na cidade de Serra Talhada em Pernambuco. Foram empregados os seguintes instrumentos: questionário sociodemográfico, a escala visual analógica para mensurar a dor, o Western Ontario McMaster Universities Osteoarthritis Index para avaliar a capacidade funcional e o Short-Form 36 para analisar a qualidade de vida. Resultado: A amostra foi composta por 26 indivíduos com média de idade de 63,4 anos, constituída de 80,7% de mulheres e 19,3% de homens. As atividades com maior limitação física foram calçar meias e subir escadas e as menos afetadas foram caminhar e fazer compras. Os aspectos de qualidade de vida mais acometidos foram a capacidade funcional e o estado geral de saúde. Conclusão: Foi verificado que indivíduos com osteoartrose de joelho apresentam dor intensa nessa articulação, com limitação funcional para determinadas atividades cotidianas afetando diretamente alguns aspectos da qualidade de vida.Descritores: Osteoartrite; Joelho; Qualidade de Vida; Classificação Internacional de Funcionalidade, Incapacidade e Saúde.ReferênciasXavier APS. Acupuntura em pacientes com osteoartrite de joelho. [monografia]. Montes Claros: Faculdade de Educação, Ciência e Tecnologia; 2007Vasconcelos KSS, Dias JMD. Relação entre intensidade de dor e capacidade funcional em indivíduos obesos com osteoartrite de joelho. Rev bras fisioter. 2006;10(2):213-18.Silveira MM, Sachetti A, Vidmar MF, Venâncio G, Tombini DK, Sordi S et al. Perfil epidemiológico de idosos com osteoartrose. R Ci méd biol. 2011;9(3):212-15.Menken M, Munsat TL, Toole JF. The global burden of disease study: implications for neurology. Arch neurol. 2000;57(3):418-20.Figueiredo Neto EM, Queluz TT, Freire BFA. Atividade física e sua associação com qualidade de vida em pacientes com osteoartrite. Rev Bras Reumatol. 2011;51(6):544-49.Cassettari MR. Osteoartrose em joelhos como fator limitante para a qualidade de vida em idosos [dissertação]. São Paulo: Programa de Pós-Graduação em Saúde Coletiva - UNIFESP; 2008.Silva F, Goes P. Efeitos da Fisioterapia Aquática na dor e função musculoesquelética de idosos com osteoartrite de joelho [monografia]. Belo Horizonte. Curso de Fisioterapia - Universidade Federal de Minas Gerais UFMG; 2008.Gomes WF. Impacto de um programa estruturado de fisioterapia aquática em idosas com osteoartrite de joelho [dissertação]. Belo Horizonte: Programa de Pós-Graduação em Ciências da Reabilitação, Universidade Federal de Minas Gerais - UFMG; 2007.Page CJ, Hinman RS, Bennell KL. Physiotherapy management of knee osteoarthritis. Int J Rheum Dis. 2011;14(2):145-51.Silva MP, Barros CAM. Benefícios de um programa de exercícios funcionais no tratamento da osteoartrite de joelho. Saúde. 2012; 1(1):23-42.Zacaron KAM, Dias JMD, Abreu NS, Dias RC. Nível de atividade física, dor e edema e suas relações com a disfunção muscular do joelho de idosos com osteoartrite. Rev bras fisioter. 2006;10(3):279-84.Matos DR, Araujo TCCF. Qualidade de vida e envelhecimento: questões específicas sobre osteoartrose. Psico Estud 2009;14(3):511-18.Araujo ILA. Qualidade de Vida e Independência Funcional em Portadores de Osteoartrite do Joelho. 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IntroductionThe 2009 American film Trash Humpers, directed by Harmony Korine, was released at a time when the hipster had become a ubiquitous concept, entering into the common vernacular of numerous cultures throughout the world, and gaining significant press, social media and academic attention (see Žižek; Arsel and Thompson; Greif et al.; Stahl; Ouellette; Reeve; Schiermer; Maly and Varis). Trash Humpers emerged soon after the 2008 Global Financial Crisis triggered Occupy movements in numerous cities, aided by social media platforms, reported on by blogs such as Gawker, and stylized by multi-national youth-subculture brands such as Vice, American Apparel, Urban Outfitters and a plethora of localised variants.Korine’s film, which is made to resemble found VHS footage of old-aged vandals, epitomises the ironic, retro stylizations and “counterculture-meets-kitsch” aesthetics so familiar to hipster culture. As a creative stereotype from 1940s and ‘50s jazz and beatnik subcultures, the hipster re-emerged in the twenty-first century as a negative embodiment of alternative culture in the age of the Internet. As well as plumbing the recent past for things not yet incorporated into contemporary marketing mechanisms, the hipster also signifies the blurring of irony and authenticity. Such “outsiderness as insiderness” postures can be regarded as a continuation of the marginality-from-the-centre logic of cool capitalism that emerged after World War Two. Particularly between 2007 and 2015, the post-postmodern concept of the hipster was a resonant cultural trope in Western and non-Western cultures alike, coinciding with the normalisation of the new digital terrain and the establishment of mobile social media as an integral aspect of many people’s daily lives. While Korine’s 79-minute feature could be thought of as following in the schlocky footsteps of the likes of Rob Zombie’s The Devil’s Rejects (2006), it is decidedly more arthouse, and more attuned to the influence of contemporary alternative media brands and independent film history alike – as if the love child of Jack Smith’s Flaming Creatures (1963) and Vice Video, the latter having been labelled as “devil-may-care hipsterism” (Carr). Upon release, Trash Humpers was described by Gene McHugh as “a mildly hip take on Jackass”; by Mike D’Angelo as “an empty hipster pose”; and by Aaron Hillis as either “the work of an insincere hipster or an eccentric provocateur”. Lacking any semblance of a conventional plot, Trash Humpers essentially revolves around four elderly-looking protagonists – three men and a woman – who document themselves with a low-quality video camera as they go about behaving badly in the suburbs of Nashville, Tennessee, where Korine still lives. They cackle eerily to themselves as they try to stave off boredom, masturbating frantically on rubbish bins, defecating and drinking alcohol in public, fellating foliage, smashing televisions, playing ten-pin bowling, lighting firecrackers and telling gay “hate” jokes to camera with no punchlines. In one purposefully undramatic scene half-way through the film, the humpers are shown in the aftermath of an attack on a man wearing a French maid’s outfit; he lies dead in a pool of blood on their kitchen floor with a hammer at his feet. The humpers are consummate “bad” performers in every sense of the term, and they are joined by a range of other, apparently lower-class, misfits with whom they stage tap dance routines and repetitively sing nursery-rhyme-styled raps such as: “make it, make it, don’t break it; make it, make it, don’t fake it; make it, make it, don’t take it”, which acts as a surrogate theme song for the film. Korine sometimes depicts his main characters on crutches or in a wheelchair, and a baby doll is never too far away from the action, as a silent and Surrealist witness to their weird, sinister and sometimes very funny exploits. The film cuts from scene to scene as if edited on a video recorder, utilising in-house VHS titling sequences, audio glitches and video static to create the sense that one is engaging voyeuristically with a found video document rather than a scripted movie. Mainstream AlternativesAs a viewer of Trash Humpers, one has to try hard to suspend disbelief if one is to see the humpers as genuine geriatric peeping Toms rather than as hipsters in old-man masks trying to be rebellious. However, as Korine’s earlier films such as Gummo (1997) attest, he clearly delights in blurring the line between failure and transcendence, or, in this case, between pretentious art-school bravado and authentic redneck ennui. As noted in a review by Jeannette Catsoulis, writing for the New York Times: “Much of this is just so much juvenile posturing, but every so often the screen freezes into something approximating beauty: a blurry, spaced-out, yellow-green landscape, as alien as an ancient photograph”. Korine has made a career out of generating this wavering uncertainty in his work, polarising audiences with a mix of critical, cinema-verité styles and cynical exploitations. His work has consistently revelled in ethical ambiguities, creating environments where teenagers take Ritalin for kicks, kill cats, wage war with their families and engage in acts of sexual deviancy – all of which are depicted with a photographer’s eye for the uncanny.The elusive and contradictory aspects of Korine’s work – at once ugly and beautiful, abstract and commercial, pessimistic and nostalgic – are evident not just in films such as Gummo, Julien Donkey Boy (1999) and Mister Lonely (2007) but also in his screenplay for Kids (1995), his performance-like appearances on The Tonight Show with David Letterman (1993-2015) and in publications such as A Crackup at the Race Riots (1998) and Pass the Bitch Chicken (2001). As well as these outputs, Korine is also a painter who is represented by Gagosian Gallery – one of the world’s leading art galleries – and he has directed numerous music videos, documentaries and commercials throughout his career. More than just update of the traditional figure of the auteur, Korine, instead, resembles a contemporary media artist whose avant-garde and grotesque treatments of Americana permeate almost everything he does. Korine wrote the screenplay for Kids when he was just 19, and subsequently built his reputation on the paradoxical mainstreaming of alternative culture in the 1990s. This is exemplified by the establishment of music and film genres such “alternative” and “independent”; the popularity of the slacker ethos attributed to Generation X; the increased visibility of alternative press zines; the birth of grunge in fashion and music; and the coining of “cool hunting” – a bottom-up market research phenomenon that aimed to discover new trends in urban subcultures for the purpose of mass marketing. Key to “alternative culture”, and its related categories such as “indie” and “arthouse”, is the idea of evoking artistic authenticity while covertly maintaining a parasitic relationship with the mainstream. As Holly Kruse notes in her account of the indie music scenes of the 1990s, which gained tremendous popularity in the wake of grunge bands such as Nirvana: without dominant, mainstream musics against which to react, independent music cannot be independent. Its existence depends upon dominant music structures and practices against which to define itself. Indie music has therefore been continually engaged in an economic and ideological struggle in which its ‘outsider’ status is re-examined, re-defined, and re-articulated to sets of musical practices. (Kruse 149)Alternative culture follows a similar, highly contentious, logic, appearing as a nebulous, authentic and artistic “other” whose exponents risk being entirely defined by the mainstream markets they profess to oppose. Kids was directed by the artist cum indie-director Larry Clark, who discovered Korine riding his skateboard with a group of friends in New York’s Washington Square in the early 1990s, before commissioning him to write a script. The then subcultural community of skating – which gained prominence in the 1990s amidst the increased visibility of “alternative sports” – provides an important backdrop to the film, which documents a group of disaffected New York teenagers at a time of the Aids crisis in America. Korine has been active in promoting the DIY ethos, creativity and anti-authoritarian branding of skate culture since this time – an industry that, in its attempts to maintain a non-mainstream profile while also being highly branded, has become emblematic of the category of “alternative culture”. Korine has undertaken commercial projects with an array skate-wear brands, but he is particularly associated with Supreme, a so-called “guerrilla fashion” label originating in 1994 that credits Clark and other 1990s indie darlings, and Korine cohorts, Chloë Sevigny and Terry Richardson, as former models and collaborators (Williams). The company is well known for its designer skateboard decks, its collaborations with prominent contemporary visual artists, its hip-hop branding and “inscrutable” web videos. It is also well known for its limited runs of new clothing lines, which help to stoke demand through one-offs – blending street-wear accessibility with the restricted-market and anti-authoritarian sensibility of avant-garde art.Of course, “alternative culture” poses a notorious conundrum for analysis, involving highly subjective demarcations of “mainstream” from “subversive” culture, not to mention “genuine subversion” from mere “corporate alternatives”. As Pierre Bourdieu has argued, the roots of alternative culture lie in the Western tradition of the avant-garde and the “aesthetic gaze” that developed in the nineteenth century (Field 36). In analysing the modernist notion of advanced cultural practice – where art is presented as an alternative to bourgeois academic taste and to the common realm of cultural commodities – Bourdieu proposed a distinction between two types of “fields”, or logics of cultural production. Alternative culture follows what Bourdieu called “the field of restricted production”, which adheres to “art for art’s sake” ideals, where audiences are targeted as if like-minded peers (Field 50). In contrast, the “field of large-scale production” reflects the commercial imperatives of mainstream culture, in which goods are produced for the general public at large. The latter field of large-scale production tends to service pre-established markets, operating in response to public demand. Furthermore, whereas success in the field of restricted production is often indirect, and latent – involving artists who create niche markets without making any concessions to those markets – success in the field of large-scale production is typically more immediate and quantifiable (Field 39). Here we can see that central to the branding of “alternative culture” is the perceived refusal to conform to popular taste and the logic of capitalism more generally is. As Supreme founder James Jebbia stated about his brand in a rare interview: “The less known the better” (Williams). On this, Bourdieu states that, in the field of restricted production, the fundamental principles of all ordinary economies are inversed to create a “loser wins” scenario (Field 39). Profit and cultural esteem become detrimental attributes in this context, potentially tainting the integrity and marginalisation on which alternative products depend. As one ironic hipster t-shirt puts it: “Nothing is any good if other people like it” (Diesel Sweeties).Trash HipstersIn abandoning linear narrative for rough assemblages of vignettes – or “moments” – recorded with an unsteady handheld camera, Trash Humpers positions itself in ironic opposition to mainstream filmmaking, refusing the narrative arcs and unwritten rules of Hollywood film, save for its opening and closing credits. Given Korine’s much publicized appreciation of cinema pioneers, we can understand Trash Humpers as paying homage to independent and DIY film history, including Jack Smith’s Flaming Creatures, William Eggleston’s Stranded in Canton (1973), Andy Warhol’s and Paul Morrissey’s Lonesome Cowboys (1967) and Trash (1970), and John Waters’s Pink Flamingos (1972), all of which jubilantly embraced the “bad” aesthetic of home movies. Posed as fantasized substitutions for mainstream movie-making, such works were also underwritten by the legitimacy of camp as a form of counter-culture critique, blurring parody and documentary to give voice to an array of non-mainstream and counter-cultural identities. The employment of camp in postmodern culture became known not merely as an aesthetic subversion of cultural mores but also as “a gesture of self-legitimation” (Derrida 290), its “failed seriousness” regarded as a critical response to the specific historical problem of being a “culturally over-saturated” subject (Sontag 288).The significant difference between Korine’s film and those of his 1970s-era forbears is precisely the attention he pays to the formal aspects of his medium, revelling in analogue editing glitches to the point of fetishism, in some cases lasting as long as the scenes themselves. Consciously working out-of-step with the media of his day, Trash Humpers in imbued with nostalgia from its very beginning. Whereas Smith, Eggleston, Warhol, Morrissey and Waters blurred fantasy and documentary in ways that raised the social and political identities of their subjects, Korine seems much more interested in “trash” as an aesthetic trope. In following this interest, he rightfully pays homage to the tropes of queer cinema, however, he conveniently leaves behind their underlying commentaries about (hetero-) normative culture. A sequence where the trash humpers visit a whorehouse and amuse themselves by smoking cigars and slapping the ample bottoms of prostitutes in G-strings confirms the heterosexual tenor of the film, which is reiterated throughout by numerous deadpan gay jokes and slurs.Trash Humpers can be understood precisely in terms of Korine’s desire to maintain the aesthetic imperatives of alternative culture, where formal experimentation and the subverting of mainstream genres can provide a certain amount of freedom from explicated meaning, and, in particular, from socio-political commentary. Bourdieu rightly points out how the pleasures of the aesthetic gaze often manifest themselves curiously as form of “deferred pleasure” (353) or “pleasure without enjoyment” (495), which corresponds to Immanuel Kant’s notion of the disinterested nature of aesthetic judgement. Aesthetic dispositions posed in the negative – as in the avant-garde artists who mined primitive and ugly cultural stereotypes – typically use as reference points “facile” or “vulgar” (393) working-class tropes that refer negatively to sensuous pleasure as their major criterion of judgment. For Bourdieu, the pleasures provided by the aesthetic gaze in such instances are not sensual pleasures so much as the pleasures of social distinction – signifying the author’s distance from taste as a form of gratification. Here, it is easy to see how the orgiastic central characters in Trash Humpers might be employed by Korine for a similar end-result. As noted by Jeremiah Kipp in a review of the film: “You don't ‘like’ a movie like Trash Humpers, but I’m very happy such films exist”. Propelled by aesthetic, rather than by social, questions of value, those that “get” the obscure works of alternative culture have a tendency to legitimize them on the basis of the high-degree of formal analysis skills they require. For Bourdieu, this obscures the fact that one’s aesthetic “‘eye’ is a product of history reproduced by education” – a privileged mode of looking, estranged from those unfamiliar with the internal logic of decoding presupposed by the very notion of “aesthetic enjoyment” (2).The rhetorical priority of alternative culture is, in Bourdieu’s terms, the “autonomous” perfection of the form rather than the “heteronomous” attempt to monopolise on it (Field 40). However, such distinctions are, in actuality, more nuanced than Bourdieu sometimes assumed. This is especially true in the context of global digital culture, which makes explicit how the same cultural signs can have vastly different meanings and motivations across different social contexts. This has arguably resulted in the destabilisation of prescriptive analyses of cultural taste, and has contributed to recent “post-critical” advances, in which academics such as Bruno Latour and Rita Felski advocate for cultural analyses and practices that promote relationality and attachment rather than suspicious (critical) dispositions towards marginal and popular subjects alike. Latour’s call for a move away from the “sledge hammer” of critique applies as much to cultural practice as it does to written analysis. Rather than maintaining hierarchical oppositions between authentic versus inauthentic taste, Latour understands culture – and the material world more generally – as having agency alongside, and with, that of the social world.Hipsters with No AlternativeIf, as Karl Spracklen suggests, alternativism is thought of “as a political project of resistance to capitalism, with communicative oppositionality as its defining feature” (254), it is clear that there has been a progressive waning in relevance of the category of “alternative culture” in the age of the Internet, which coincides with the triumph of so-called “neoliberal individualism” (258). To this end, Korine has lost some of his artistic credibility over the course of the 2000s. If viewed negatively, icons of 1990s alternative culture such as Korine can be seen as merely exploiting Dada-like techniques of mimetic exacerbation and symbolic détournement for the purpose of alternative, “arty” branding rather than pertaining to a counter-hegemonic cultural movement (Foster 31). It is within this context of heightened scepticism surrounding alternative culture that the hipster stereotype emerged in cultures throughout the world, as if a contested symbol of the aesthetic gaze in an era of neoliberal identity politics. Whatever the psychological motivations underpinning one’s use of the term, to call someone a hipster is typically to point out that their distinctive alternative or “arty” status appears overstated; their creative decisions considered as if a type of bathos. For detractors of alternative cultural producers such as Korine, he is trying too hard to be different, using the stylised codes of “alternative” to conceal what is essentially his cultural and political immaturity. The hipster – who is rarely ever self-identified – re-emerged in the 2000s to operate as a scapegoat for inauthentic markers of alternative culture, associated with men and women who appear to embrace Realpolitik, sincerity and authentic expressions of identity while remaining tethered to irony, autonomous aesthetics and self-design. Perhaps the real irony of the hipster is the pervasiveness of irony in contemporary culture. R. J Magill Jnr. has argued that “a certain cultural bitterness legitimated through trenchant disbelief” (xi) has come to define the dominant mode of political engagement in many societies since the early 2000s, in response to mass digital information, twenty-four-hour news cycles, and the climate of suspicion produced by information about terrorism threats. He analyses the prominence of political irony in American TV shows including The Daily Show with Jon Stewart, The Simpsons, South Park, The Chappelle Show and The Colbert Report but he also notes its pervasiveness as a twenty-first-century worldview – a distancing that “paradoxically and secretly preserves the ideals of sincerity, honesty and authenticity by momentarily belying its own appearance” (x). Crucially, then, the utterance “hipster” has come to signify instances when irony and aesthetic distance are perceived to have been taken too far, generating the most disdain from those for whom irony, aesthetic discernment and cultural connoisseurship still provide much-needed moments of disconnection from capitalist cultures drowning in commercial hyperbole and grave news hype. Korine himself has acknowledged that Spring Breakers (2013) – his follow-up feature film to Trash Humpers – was created in response to the notion that “alternative culture”, once a legitimate challenge to mainstream taste, had lost its oppositional power with the decentralization of digital culture. He states that he made Spring Breakers at a moment “when there’s no such thing as high or low, it’s all been exploded. There is no underground or above-ground, there’s nothing that’s alternative. We’re at a point of post-everything, so it’s all about finding the spirit inside, and the logic, and making your own connections” (Hawker). In this context, we can understand Trash Humpers as the last of the Korine films to be branded with the authenticity of alternative culture. In Spring Breakers Korine moved from the gritty low-fi sensibility of his previous films and adopted a more digital, light-filled and pastel-coloured palette. Focussing more conventionally on plot than ever before, Spring Breakers follows four college girls who hold up a restaurant in order to fund their spring break vacation. Critic Michael Chaiken noted that the film marks a shift in Korine’s career, from the alternative stylings of the pre-Internet generation to “the cultural heirs [of] the doomed protagonists of Kids: nineties babies, who grew up with the Internet, whose sensibilities have been shaped by the sweeping technological changes that have taken place in the interval between the Clinton and Obama eras” (33).By the end of the 2000s, an entire generation came of age having not experienced a time when the obscure films, music or art of the past took more effort to track down. Having been a key participant in the branding of alternative culture, Korine is in a good position to recall a different, pre-YouTube time – when cultural discernment was still caught up in the authenticity of artistic identity, and when one’s cultural tastes could still operate with a certain amount of freedom from sociological scrutiny. Such ideas seem a long way away from today’s cultural environments, which have been shaped not only by digital media’s promotion of cultural interconnection and mass information, but also by social media’s emphasis on mobilization and ethical awareness. ConclusionI should reiterate here that is not Korine’s lack of seriousness, or irony, alone that marks Trash Humpers as a response to the scepticism surrounding alternative culture symbolised by the figure of the hipster. It is, rather, that Korine’s mock-documentary about juvenile geriatrics works too hard to obscure its implicit social commentary, appearing driven to condemn contemporary capitalism’s exploitations of youthfulness only to divert such “uncool” critical commentaries through unsubtle formal distractions, visual poetics and “bad boy” avant-garde signifiers of authenticity. Before being bludgeoned to death, the unnamed man in the French maid’s outfit recites a poem on a bridge amidst a barrage of fire crackers let off by a nearby humper in a wheelchair. Although easily overlooked, it could, in fact, be a pivotal scene in the film. Spoken with mock high-art pretentions, the final lines of the poem are: So what? Why, I ask, why? Why castigate these creatures whose angelic features are bumping and grinding on trash? Are they not spawned by our greed? Are they not our true seed? Are they not what we’ve bought for our cash? We’ve created this lot, of the ooze and the rot, deliberately and unabashed. Whose orgiastic elation and one mission in creation is to savagely fornicate TRASH!Here, the character’s warning of capitalist overabundance is drowned out by the (aesthetic) shocks of the fire crackers, just as the stereotypical hipster’s ethical ideals are drowned out by their aesthetic excess. The scene also functions as a metaphor for the humpers themselves, whose elderly masks – embodiments of nostalgia – temporarily suspend their real socio-political identities for the sake of role-play. It is in this sense that Trash Humpers is too enamoured with its own artifices – including its anonymous “boys club” mentality – to suggest anything other than the aesthetic distance that has come to mark the failings of the “alternative culture” category. In such instances, alternative taste appears as a rhetorical posture, with Korine asking us to gawk knowingly at the hedonistic and destructive pleasures pursued by the humpers while factoring in, and accepting, our likely disapproval.ReferencesArsel, Zeynep, and Craig J. Thompson. “Demythologizing Consumption Practices: How Consumers Protect Their Field-Dependent Identity Investments from Devaluing Marketplace Myths.” Journal of Consumer Research 37.5 (2011): 791-806.Bourdieu, Pierre. 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