Academic literature on the topic 'Carl Eduard Simon'

<p>O número 99 caracteriza-se por apresentar um conjunto de artigos temáticos. O primeiro tema, expresso em cinco artigos de autores espanhóis, aborda o ensino do conceito de paisagem e educação ambiental, que é problematizado no texto de apresentação escrito pelo Dr Alfonso García De La Vega, da Universidade Autonoma de Madrid, organizador dessa demanda especifica. No texto, “<em>El Paisaje y la Educación Ambiental”, </em><strong>Alfonso García De La Vega, Universidad Autónoma de Madrid (Espanha) </strong>presenta media docena de trabajos relacionados con el tema: el paisaje y la educación ambiental, que se aborda desde una perspectiva multidisciplinar, aunque con especial atención al enfoque geográfico. La geografía siempre ha ofrecido una visión global de la relación entre el ámbito natural y las intervenciones humanas, cuyas transformaciones han generado paisajes culturales singulares.</p><p>Outro tema agrega os artigos sobre a formação docente em Ciências e Matemática, submetidos espontaneamente por autores brasileiros e portugués.</p><p>No artigo “<em>As marcas sociais deixadas pelas escolas em nossos professores de ciências: a questão da violência simbólica</em>”, Graciella Watanabe e Ivã Gurgel propõem que elas são deixadas na memória e evocadas nas situações cotidianas onde se apresentam na forma do <em>habitus</em> em diversas reações que são convocadas pelo campo profissional. Esse trabalho pretende recuperar os aspectos sociais que marcaram um conjunto de 136 professores de ciências da escola básica (fundamental e média) em sua trajetória histórica e as influencias na sua atuação profissional.</p><p class="Default">Maria Eduarda Roque Ferreira, Carla Cepa, Rosa Tracana e Carlos Francisco Reis, no texto <em>“</em><em>RECICLAR RECORDAÇÕES COM AS CIÊNCIAS - PERCURSOS DE APRENDIZAGEM EM CONTEXTO DE JARDIM-DE-INFÂNCIA”,</em> partiram do pressuposto que a educação se baseia em premissas sociais, culturais, individuais e coletivas. Neste contexto, foi desenvolvida, com um grupo de crianças da educação pré-escolar, uma experiência pedagógico-didática intitulada <em>Reciclar Recordações - A Magia das Ciências</em>, que foi trabalhada<em> </em>de modo<em> </em>interdisciplinar e operacionalizada através da realização de atividades práticas, tendo por enfoque a triangulação ciência-criança-meio sociocultural.</p><p class="Default">Andrea Inês Goldschmidt, Nathália Vieira Silva, Jenyffer Soares Estival Murça e Brucce Sanderson Prado de Freitas, no artigo “<em>O QUE É CIÊNCIA? CONCEPÇÕES DE LICENCIANDOS EM CIÊNCIAS BIOLÓGICAS E QUÍMICA”</em>, procuraram identificar e analisar as concepções sobre Natureza da Ciência entre acadêmicos dos cursos de graduação (licenciatura) em Ciências Biológicas e Química, da Universidade Federal de Goiás e a partir desta, analisar os contextos epistemológicos que a cercam.</p><p>Por fim, Mazonilde Dalvina Costa Souza, Márcia Jussara Hepp Rehfeldt, Ieda Maria Giongo, no artigo “<em>A APRENDIZAGEM DA GEOMETRIA POR MEIO DE OBRAS CUBISTAS NO 5º ANO DA EDUCAÇÃO DE JOVENS E ADULTOS – EJA”, </em>apresentam<em> </em>o resultado da pesquisa desenvolvida no Mestrado Profissional em Ensino de Ciências Exatas do Centro Universitário UNIVATES, que teve como objetivo identificar de que forma o estudo do movimento cubista pode contribuir na aprendizagem significativa da Geometria no 5º ano da Educação de Jovens e Adultos – EJA na Escola Municipal Maria Gertrudes Mota de Lima. Tal pesquisa se fundamentou na teoria de aprendizagem de David Ausubel e nos documentos que regem a Educação de Jovens e Adultos. Foram consultadas obras, como Ausubel (2003), Moreira (2011), Fainguelernt e Nunes (2006).</p><p>Convidamos a leitura dos textos, visto que propõem novas reflexões sobre temas tão caros a educação e ao ensino.</p><p align="right">Maria Cristina Pansera-de-Araújo</p><p align="right">Maria Simone Vione Schwengber</p><p align="right">Celso José Martinazzo</p><p align="right">Solange Castro Schorn</p><p> </p>

Revista Formação (Online) Ano 2018– n. 46 – Set/Dez 2018 ISSN: 2178-7298 Revista do Programa de Pós-Graduação em Geografia da Universidade Estadual Júlio de Mesquita Paulista Filho, Faculdade de Ciências e Tecnologia, Campus de Presidente Prudente. Indexadores Latindex CAPES Periódicos REBID Public Knowledge Project BASE CNEN Clase Jornals for Free Editor Eliseu Savério Sposito Comissão Editorial Alessandro Donaire de Santana Anna Paulla Artero Vilela Antonio Fluminhan Bruna Dienifer Souza Sampaio Bruno Leonardo Barcella Carla Hentz Carlos Eduardo das Neves Francielle Garcia Martins Francisco Wendell Dias Costa Fredi dos Santos Bento Gabriel Boraschi Ribeiro Graziella Graziella Plaça Orosco de Souza Janaína Lopes Moreira Jhonatan Laszlo Manoel Larissa Piffer Dorigon Letícia Aparecida Dias Carli Liriane Gonçalves Barbosa Mariana Cristina Silva Gomes Marlon Altavini de Abreu Paulo Roberto Vagula Priscila Estevam Engel Renata dos Santos Cardoso Ricardo dos Santos Washington Paulo Gomes Pareceristas do ano de 2018 Achilles Chirol (UERJ) Aline Sulzbacher (UFVJM) Andrea Portosales (UNESP) Andrey Binda (UFFS) Angela Endlich (UEM) Antonio Hespanhol (UNESP) Arthur Whitacker (UNESP) Auro Mendes (UNESP) Carlos de Castro Neves Neto (UNESP) Cássio Antunes de Oliveira (UNESP) Cláudio Pereira (UNESP) Clerisnaldo Carvalho (UNESP) Cleverson Reolon (UEM) Danilo Alcantara (IFSP) Denis Richter (UFG) Denise Bomtempo (UECE) Edilson Alves Pereira Júnior (UECE) Edson Fialho (UFV) Eduardo Dibieso (UNESP) Eduardo Salinas Chávez (UFGD) Eliseu Sposito (UNESP) Élvis christian Madureira Ramos (UNESP) Erika Vanessa Moreira (UFF) Evandro Clemente (UFG) Everaldo Santos Melazzo (UNESP) Fátima Marin (UNESP) Fernando Bataghin (UFMS) Fernando Kawakubo (USP) Fernando Veloso (UNESP) Flávia Rezende Campos (UFG) Flaviana Nunes (UFGD) Gilcileide Rodrigues da Silva (UFAL) Iara Rafaela Gomes (UFC) Isabel Gouveia (UNESP) Ivana Gomes e Silva (UFPA) João André da Silva Neto (UNICAP) João Lima Sant'anna Neto (UNESP) João Osvaldo Rodrigues Nunes (UNESP) Joelma Santos (UFU) José Antonio Herrera (UFPA) Josenilson da Silva (uftm) Karine Vargas (UFRRJ) Lucas Fuini (IFSP) Luís Antônio Franscisco de Souza (UNESP) Luís Basso (UFRGS) Luiz Cruz Lima (UECE) Marcelino Gonçalves (UFMS) Marcelo Chelotti (UFU) Margarete Amorim (UNESP) Maria Tereza Serafim Gomes (UNESP) Mariana Lamego (UERJ) Marta Luzia Souza (UEM) Meri Lourdes Bezzi (UFSM) Messias Modesto dos Passos (UNESP) Miguel Fernandes Felippe (UFJF) Mirlei Pereira (UFU) Mugiany Portela (UFPI) Neide Faccio (UNESP) Nina Simone Moura (UFRGS) Oseias Martinuci (UNESP) Pacelli Henrique Martins Teodoro (UFVJM) Paula Vanessa de Faria Lindo (UFFS) Paulo Fernando Cirino Mourão (UNESP) Paulo Jurado Da Silva (UEMS) Priscila Varges Da Silva (UFMS) Raphael Fernando Diniz (UNESP) Reginaldo Souza (UFFS) Ricardo Pires De Paula (UNESP) Rita De Cassia Montezuma (UFF) Rodrigo Simão Camacho (UFGD) Rosana Figueiredo Salvi (UEL) Rosângela Thomaz (UNESP) Salvador Carpi Junior (UNICAMP) Silvia Aparecida de Sousa Fernandes (UNESP) Terezinha Brumatti Carvalhal (UNESP) Yuri Rocha (USP) Objetivos da Revista Formação Online A Revista Formação (Online) é uma publicação do Programa de Pós-Graduação em Geografia, da Universidade Estadual Paulista "Júlio de Mesquita Filho", Faculdade de Ciências e Tecnologia, Campus de Presidente Prudente. É uma revista eletrônica semestral destinada à divulgação de artigos científicos, resenhas e afins. Está classificada no Webqualis: Geografia B2.

CATEGORIA PAINELP 01. NÓDULOS PULPARES - CALCIFICAÇÕES. TAVARES, THAÍS RUAS; SEKI, NATHALIA MARIKO ASSAKAWA; SOUZA, EDMARA REGINA DIAS; SIVA, AMANDA SOUZA; SIMONATO, LUCIANA ESTEVAM; MORETI, LUCIENI CRISTINA TROVATI. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 02. ACIDENTES E COMPLICAÇÕES NA ABERTURA CORONÁRIA. SOUZA, EDMARA REGINA DIAS; SEKI, NATHALIA MARIKO ASSAKAWA; TAVARES, THAÍS RUAS; SIVA, AMANDA SOUZA; SIMONATO, LUCIANA ESTEVAM; MORETI, LUCIENI CRISTINA TROVATI. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 03. DOENÇAS INFECTO CONTAGIOSAS. SOUZA, ISABELE TEODORO DE; SANTOS, BEATRIZ MAGRI DOS; ARANTES, GABRIELI DE MAGALHAES; FERREIRA, LARISSA QUEIROZ; SILVA, WAGNER RAFAEL DA. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 04. GENES MARCADORES DE RESISTÊNCIA À TETRACICLINA NO BIOFILME DE DEPENDENTES QUÍMICOS E NÃO DEPENDENTES. SOUZA, ISABELE TEODORO DE; BRUZADIN, LEONARDO NASCIMENTO; SILVA, WAGNER RAFAEL DA; BOER, NAGIB PEZATI; RANIERI, ROBSON VARLEI; OKAMOTO, ANA CLÁUDIA; JÚNIOR, ELERSON GAETTI-JARDIM; CUNHA-CORREIA, ADRIANA SALES. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 05. GENES MARCADORES DE RESISTÊNCIA A ANTIMICROBIANOS NO BIOFILME DE OVINOS SAUDÁVEIS OU COM PERIODONTITE. BRUZADIN, LEONARDO NASCIMENTO; BRUZADIN, LETÍCIA NASCIMENTO; SILVA, WAGNER RAFAEL DA; RANIERI, ROBSON VARLEI; OKAMOTO, ANA CLÁUDIA; DUTRA, IVERALDO DOS SANTOS; JÚNIOR, ELERSON GAETTI-JARDIM; CUNHA-CORREIA, ADRIANA SALES. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 06. ANATOMIA COMPARADA DA REGIÃO CERVICAL DE AVES E HUMANOS. FRANCISCO, CAROLINE SANCHES VICK; SPAZIANI, AMANDA OLIVA; FRANCISCO, JAQUELINE SANCHES VICK; VERONESI, CAMILA LUCCHESE; PEREIRA, ALEXANDRE MIRANDA; TALIARI, JEAN DONIZETE SILVEIRA. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 07. INVESTIGAÇÃO DA PREVALÊNCIA DO MÚSCULO PIRAMIDAL EM CADÁVERES HUMANOS. FRANCISCO, CAROLINE SANCHES VICK; SPAZIANI, AMANDA OLIVA; ANDREANI, GIOVANNA; FRANCISCO, JAQUELINE SANCHES VICK; RAMOS, ROGÉRIO RODRIGO; BATIGÁLIA, FERNANDO; CHACON, ERIVELTO LUÍS. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 08. FISSURAS PULMONARES E PARIETAIS COM ADERÊNCIA DOS FOLHETOS VISCERAIS: RELATO DE CASO. FRANCISCO, JAQUELINE SANCHES VICK; SPAZIANI, AMANDA OLIVA; ANDREANI, GIOVANNA; FRANCISCO, CAROLINE SANCHES VICK; TALIARI, JEAN DONIZETE SILVEIRA; RAMOS, ROGÉRIO RODRIGO; PEREIRA, ALEXANDRE MIRANDA. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 09. ANÁLISE DOS VASOS RENAIS EM CADÁVERES HUMANOS: RELATO DE CASO. FRANCISCO, JAQUELINE SANCHES VICK; FRANCISCO, CAROLINE SANCHES VICK; SPAZIANI, AMANDA OLIVA; BOER, LUIS FERNANDO RICCI; RAMOS, ROGÉRIO RODRIGO; BATIGÁLIA, FERNANDO. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 10. ESTRATÉGIA PARA DESCARTE E TRATAMENTO ECOLÓGICO DE EFLUENTE DE FORMOL EM LABORATÓRIO DE ANATOMIA. MOREIRA, PABLO DE SOUZA; RAMOS, ROGÉRIO RODRIGO; BOER, LUÍS FERNANDO RICCI; PAVÃO, GUSTAVO DALAN; MIORIN, ANA PAULA GOBATE; BATIGÁLIA, FERNANDO. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 11. DISTRIBUIÇÃO DOS GENES LIGADOS ÀS B-LACTAMASES DE AMPLO ESPECTRO DE AÇÃO ENTRE OS ANAERÓBIOS BUCAIS OBRIGATÓRIOS. BRUZADIN, LETÍCIA NASCIMENTO; BRUZADIN, LEONARDO NASCIMENTO; SILVA, WAGNER RAFAEL DA; OKAMOTO, ANA CLAUDIA; SCHWEITZER, CHRISTIANE MARIE; JÚNIOR, ELERSON GAETTI-JARDIM; CUNHA-CORREIA, ADRIANA SALES. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 12. SINCERIDADE DOS PACIENTES DURANTE A ANAMNESE. BASI, LAYNI ANDRADE; MARTINS, YASMIN DUTRA; MOTA, BIANCA MARQUES; RIBEIRO, RAIANIFER APARECIDA GARCIA; FERRARI, MIRELLA TAIS SIQUEIRA FIDELIS; SILVA, WAGNER RAFAEL DA. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 13. A IMPORTÂNCIA DA ODONTOLOGIA HOSPITALAR PARA A PREVENÇÃO DA PNEUMONIA NOSOCOMIAL. DINIZ, GABRIEL EUGENIO MANIGA; SILVA, FELIPE HENRIQUE QUIRINO DA; BATISTA, AMANDA DA FONSECA MORAES; BELONI, MARIA CRISTINA VERMEJO; SOUZA, EDUARDO GIOVANI DE; SILVA, GABRIELA FERNANDA ISMARSI DA; BENTO, JACQUELINE CRISTINA DA SILVA; TEMPEST, LEANDRO MOREIRA. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 14. LIMAS EASY PRODESING LOGIC - NOVA TECNOLOGIA EM LIMAS - PROPOSTA DE LIMA ÚNICA. MARCELINO, VANESSA CRISTINA DA SILVA; BOER, NILTON CÉSAR PEZATI; OGATA, MITSURO; BOAS, LARISSA VILAS; MORETI, LUCIENI CRISTINA TROVATI; FERNANDES, KARINA GONZALEZ CAMARA. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 15. ANÁLISE DA PREVALÊNCIA VARIAÇÃO ANATÔMICA DO MÚSCULO PALMAR LONGO EM SERES HUMANOS: UMA REVISÃO BIBLIOGRÁFICA. CAETANO, NELIZE MAIOLI; SPAZIANI, AMANDA OLIVA; ANDREANI, GIOVANNA; ARAUJO, ISABELLA MOREIRA; MULLER, KARLA MARIA; RAMOS, ROGÉRIO RODRIGO; TALIARI, JEAN DONIZETE SILVEIRA. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 16. ANÁLISE DA VARIAÇÃO ANATÔMICA DO MÚSCULO PLANTAR EM CADÁVERES HUMANOS. CAETANO, NELIZE MAIOLI; ANDREANI, GIOVANNA; SPAZIANI, AMANDA OLIVA; FRANCISCO, JAQUELINE SANCHES VICK; FRANCISCO, CAROLINE SANCHES VICK; RAMOS, ROGÉRIO RODRIGO; BATIGÁLIA, FERNANDO; BOER, NAGIB PEZATI. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 17. CÁLCULO DO SERVIÇO ODONTOLÓGICO. BRUZADIN, LEONARDO NASCIMENTO; BRUZADIN, LETÍCIA NASCIMENTO; BOER, NILTON CESAR PEZATI. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 18. PROPRIEDADES E PERSPECTIVAS ATUAIS DAS CÉLULAS-TRONCO DERIVADAS DE POLPA DENTÁRIA HUMANA. CARNEIRO, MARIA CAROLINA; PACCHIONI, HENRIQUE VILLAR TELLES LUNARDELI; RODRIGUEZ, LARISSA SANTANA. Fundação Municipal e Cultural de Santa Fé do Sul - FUNEC.P 19. PREVALÊNCIA DA DOENÇA CÁRIE EM PACIENTES COM NECESSIDADES ESPECIAIS. MARCOS, FABIANY CARINA; CORREIA, ADRIANA SALES CUNHA; CRUZ, MARLENE CABRAL COIMBRA DA; SAKASHITA, MARTHA SUEMI. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 20. IMPORTÂNCIA DA ATUAÇÃO ODONTOLÓGICA NA PREVENÇÃO DA PNEUMONIA ASSOCIADA À VENTILAÇÃO MECÂNICA. PROCÓPIO, MONIQUE SOUZA; GIACHETTO, FELIPE; SILVA, WAGNER RAFAEL DA; BOER, NAGIB PEZATI; GAETTI-JARDIM, ELLEN CRISTINA; JÚNIOR, ELERSON GAETTI-JARDIM; CUNHA-CORREIA, ADRIANA SALES. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 21. FORMALIZAÇÃO E GLICERINAÇÃO: ESTUDO DE PREFERÊNCIA DE TÉCNICA DE CONSERVAÇÃO ANATÔMICA POR ACADÊMICOS. SPAZIANI, AMANDA OLIVA; FRANCISCO, CAROLINE SANCHES VICK; ANDREANI, GIOVANNA; CAETANO, NELIZE MAIOLI; CARVALHO, BRUNA KLINGELFUS; FRANCISCO, JAQUELINE SANCHES VICK; TALIARI, JEAN DONIZETE SILVEIRA; PEREIRA, ALEXANDRE MIRANDA. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 22. PREVALÊNCIA DO MÚSCULO PALMAR LONGO EM ANTEBRAÇOS DE CADÁVERES HUMANOS. SPAZIANI, AMANDA OLIVA; FRANCISCO, CAROLINE SANCHES VICK; ANDREANI, GIOVANNA; CAETANO, NELIZE MAIOLI; FRANCISCO, JAQUELINE SANCHES VICK; RAMOS, ROGÉRIO RODRIGO; TALIARI, JEAN DONIZETE SILVEIRA; BATIGÁLIA, FERNANDO. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 23. VARIAÇÃO ANATÔMICA: ORIGEM DA ARTÉRIA RADIAL EM CADÁVER HUMANO. PAVÃO, GUSTAVO DALAN; MINGATOS, GISELA SANT´ANA; FERREIRA, AUGUSTO SÉTTEMO; BOER, LUIS FERNANDO RICCI; BATIGÁLIA, FERNANDO; RAMOS, ROGÉRIO RODRIGO. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 24. AVALIAÇÃO COMPARATIVA IN VITRO DA AÇÃO DE SUBSTÂNCIAS ANTIMICROBIANAS INTRACANAIS UTILIZADAS COMO AGENTES CURATIVOS TRADICIONAIS COM O OTOCIRIAX®.DUNGUE, JULIANA ROMERA; MORETI, LUCIENI CRISTINA TROVATI; BOER, NILTON CÉSAR PEZATI. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 25. RECONSTRUÇÃO DE MAXILA ATRÓFICA POR ENXERTIA AUTÓGENA. REIS, WILLYAM FONTES; SIMONATO, LUCIANA ESTEVAM; INGRACI, MARIÂNGELA BORGHI; FABRIS, ANDRÉ LUÍS DA SILVA. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 26. RELATO DE CASO DE PROCESSO ESTILOIDE ALONGADO. MOREIRA, PABLO DE SOUZA; MEDINA, THIAGO; PASTRELLO, FERNANDO HENRIQUE HONDA; CARVALHO, BRUNA KLINGELFUS; BOER, NAGIB PEZATI; BATIGÁLIA, FERNANDO. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 27. DIAGNÓSTICO DIFERENCIAL DE LIMITAÇÃO DA ABERTURA BUCAL: RELATO DE CASOS. OLIVEIRA, EVELYN GONÇALVES DE; ARIKAWA, YARA MATSU TORRES; JACOMETO, WILLIAN HENRIQUE; SANTOS, RAFAEL CID DOS; ZUIM, PAULO ROBERTO JUNQUEIRA; CARVALHO, KARINA HELGA TURCIO DE. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 28. ACIDENTES E COMPLICAÇÕES EM ENDODONTIA: SOBREOBTURAÇÃO. RELATO DE CASO CLÍNICO. MARIN, RENATA MARIA CRISTINA; MERENDA, ALINE DENICE; OGATA, MITSURU; PEZATI, NILTON CEZAR; MORETI, LUCIENE CRISTINA TROVATI. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 29. RADIOLOGIA DIGITAL. NETO, JOÃO ABADIO DE OLIVEIRA; FILIPPIN, CAROLINA; HOSHINO, ISIS ALMELA ENDO; FERNANDES, JENIFFER CRISTINA; GUBOLIN, SIMONE. Centro Universitário do Noroeste Paulista – UNORP.P 30. DIAGNÓSTICO DEFINITIVO FRENTE A LESÃO EM PALATO – RELATO DE CASO. QUEIROZ, MARCELA BLINI DE SOUZA; LIMA, LAÍS FERNANDA CASTILHO; MORAES, LAIS MILLIANA DOS SANTOS; SANTOS, RAFAEL CID DOS; BORTOLUZO, PAULO HENRIQUE; BOER, NAGIB PEZATI; SIMONATO, LUCIANA ESTEVAM. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 31. CORRELAÇÃO ENTRE ORTODONTIA E PERIODONTIA - RELATO DE CASO CLÍNICO. OLIVEIRA, EVELYN GONÇALVES DE; SOUZA, JOÃO MARCELO DE FRANCESCO; SILVA, HELOISI FRANÇA MARQUES DA; DUNGUE, JULIANA ROMERA; JACOMETO, WILLIAN HENRIQUE; ROLIM, VALÉRIA CRISTINA LOPES DE BARROS. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 32. A INCIDÊNCIA CÁRIE NA PRIMEIRA INFÂNCIA. MULATO, BÁRBARA DIAS; FRANCESCHINI, ANA CAROLINA ALVES; SOUZA, JÉSSICA PEREIRA DE; SILVA, JÉSSICA CRISTINA DA; CARREIRA, HEITOR DE SOUZA; SILVA, LUIZ FELIPE OLIVEIRA DA; ANTONIO, REGINA ROBERTA; ROSA, ANA PAULA BERNARDES. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 33. AVALIAÇÃO DO GRAU DE CONHECIMENTO DE MONITORAS DE CEMEI SOBRE PRIMEIROS SOCORROS. CRUZ, MARINA COIMBRA DA; NETO, PEDRO BRANDEMARTI; GIRALDELLI, SHIZUMI ISERI; FERREIRA, AUGUSTO SÉTTEMO; JOSÉ, BRUNO BRAGA; FERREIRA, FLÁVIO CARLOS RUY. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 34. SEDAÇÃO MÍNIMA NO ATENDIMENTO ODONTOLÓGICO DE PACIENTE ESQUIZOFRÊNICO – RELATO DE CASO. ALVES, TATIANE MARIA SILVA; BOER, NAGIB PEZATI; OLIVEIRA, ELEN DAIANE DE; CORREIA, THIAGO MEDEIROS; CUNHA-CORREIA, ADRIANA SALES. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 35. TERAPIA ENDODÔNTICA EM DENTE PERMANENTE COM MORTE PULPAR E RIZOGÊNESE INCOMPLETA: RELATO DE CASO CLÍNICO. COSTA, ANTONIO HENRIQUE CAMPOS DA; BORTOLO, AMANDA FLAVIA; PIMENTA, CAROLINA BASSO RODRIGO; FERNANDES, KARINA GONZALES CÂMARA; BOER, NILTON CÉSAR PEZATE; MORETI, LUCIENI CRISTINA TROVATI. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 36. INFECÇÕES RESPIRATÓRIAS E DISSEMINAÇÃO DE MICRORGANISMOS SUPERINFECTANTES E OPORTUNISTAS NA BOCA DE PACIENTES HOSPITALIZADOS. GIACHETTO, FELIPE; SILVA, WAGNER RAFAEL DA; BOMBARDA, FÁBIO; GAETTI-JARDIM, ELLEN CRISTINA; SCHWEITZER, CHRISTIANE MARIE; JÚNIOR, ELERSON GAETTI-JARDIM; BOER, NAGIB PEZATI; CUNHA-CORREIA, ADRIANA SALES. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis / FOA-UNESP – Campus Araçatuba.P 37. AS PLANTAS MEDICINAIS NO CONTROLE DO BIOFILME BUCAL. ESTEVES, EDMILSON DA SILVA; ESTEVES, ÉDRYLA MORAES; GALBIATTI, JULIANA SILVA; BASSO, TATIANE; AGRELI, KAMILLA CARNEIRO; LOPES, RAFAELLA PANTOJA; SILVA, NATIELE FERREIRA DA; COVIZZI, UDERLEI. Universidade do Norte Paulista - UNORP - Jd Alto Rio Preto - São José do Rio Preto.P 38. MUCOCELE EM VENTRE LINGUAL DE PACIENTE PEDIÁTRICO - TRATAMENTO CIRÚRGICO. FERREIRA, JULIANA PAULA; CORREIA, ADRIANA SALES CUNHA; SIMONATO, LUCIANA ESTEVAM; SANTOS, RAFAEL CID DOS; SOARES, RODOLFO POLLO; PEGORETTO, MARCELO PERLES; LUCIA, MARIÂNGELA BORGHI INGRACI DE. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 39. VISITA ACADÊMICA AO HOSPITAL DO CÂNCER DE BARRETOS - RELATO DE EXPERIÊNCIA. PONCIANO, VITÓRIA DE ARAUJO; BRUZADIN, LEONARDO NASCIMENTO; SIMONATO, LUCIANA ESTEVAM; CRUZ, MARLENE CABRAL COIMBRA DA. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 40. ENDODONTIA REGENERATIVA NO TRATAMENTO DE DENTE COM RIZOGÊNESE INCOMPLETA: RELATO DE CASO CLÍNICO. FANTI, LARISSA BARRADAS; FERNANDES, KARINA GONSALEZ CÂMARA; MORETI, LUCIENI CRISTINA TROVATI. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 41. ODONTOLOGIA EM MISSÃO HUMANITÁRIA EM DOURADOS-MS. PIGARI, ANA LAURA; CRUZ, MARLENE CABRAL COIMBRA DA. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 42. FRATURA RADICULAR OBLÍQUA EM PRIMEIRO PRÉ-MOLAR INFERIOR ESQUERDO PERMANENTE. ADAMI, BRUNA CARLA PEREIRA; MERENDA, ALINE DENICE; MORETI, LUCIENI CRISTINA TROVATI. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 43. USO DA RESSONÂNCIA MAGNÉTICA NA AVALIAÇÃO DO NERVO ALVEOLAR INFERIOR EM PACIENTES COM PARESTESIA APÓS EXODONTIA DO TERCEIRO MOLAR. CRUZ, LUCAS COIMBRA DA; CRUZ, MARINA COIMBRA DA; CRUZ, DANIELA MOREIRA DA; LALIER, RAFAEL TEODORO LOPES; SANO, RUBENS SATO; SANO, RENATO SATO; JÚNIOR, ARIOVALDO JOSÉ DO NASCIMENTO; CRUZ, MARLENE CABRAL COIMBRA DA. Santa Casa de Misericórdia de Fernandópolis / Centro de Diagnóstico por Imagem de Fernandópolis.P 44. PAPILOMA ESCAMOSO EM MUCOSA LABIAL SUPERIOR: RELATO DE CASO. OLIVEIRA, BRUNA IRIS DE; JUSTE, LARISSA CRISTINA; TOMO, SAYGO; STEFANINI, ALINE REIS; CRUZ, MARLENE CABRAL COIMBRA DA; SIMONATO, LUCIANA ESTEVAM. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 45. FIBROMA EM VENTRE LINGUAL DECORRENTE DE PIERCING LINGUAL. MAFRA, ANA CLARA FONTES; SILVA, LAURA; STEFANINI, ALINE REIS; MORETI, LUCIENI CRISTINA TROVATI; BOER, NILTON CESAR PEZATI; SIMONATO, LUCIANA ESTEVAM. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 46. CLAREAMENTO DE DENTES DESVITALIZADOS: RELATO DE CASO CLÍNICO. SOUZA, JUNIO FABIANO RIBEIRO DE; SILVA, JULIANA RODRIGUES DE ALMEIDA; FERNANDES, KARINA GONZALES CÂMARA; OGATA, MITSURU; MORETI, LUCIENI CRISTINA TROVATI. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 47. FENÔMENO DE EXTRAVASAMENTO DE SALIVA: RELATO DE CASO. TAGLIARI, EDILAINE RITA DA MATA; SILVA, SILVANA LUIZ DA; TOMO, SAYGO; STEFANINI, ALINE REIS; CRUZ, MARLENE CABRAL COIMBRA DA; SIMONATO, LUCIANA ESTEVAM. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 48. DISPLASIA CEMENTO ÓSSEA FLORIDA: RELATO DE CASO CLÍNICO. DUNGUE, JULIANA ROMERA; BARBOSA, PEDRO AUGUSTO CAETANO; OLIVEIRA, EVELYN GONÇALVES DE; BOER, NILTON CÉSAR PEZATI; FERNANDES, KARINA GONZALES CAMARA; MORETI, LUCIENI CRISTINA TROVATI. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 49. DIAGNÓSTICO E CONDUTA CLÍNICA FRENTE A NÓDULO EM MUCOSA LABIAL – RELATO DE CASO. QUEIROZ, GEOVANIA MELO; MENEZES, CAROLINE PEREIRA; TOMO, SAYGO; STEFANINI, ALINE REIS; BOER, NAGIB PEZATI; SIMONATO, LUCIANA ESTEVAM. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 50. DIAGNÓSTICO DE ÚLCERA MALIGNA EM LÍNGUA DE PACIENTE SEM HÁBITOS DE RISCO. NOGUEIRA, CARLA MONISE; GOBERO, RAFAELA CORTELASSI; TOMO, SAYGO; STEFANINI, ALINE REIS; FERNANDES, KARINA GONZALES CAMARA; SIMONATO, LUCIANA ESTEVAM. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 51. TRATAMENTO DE CARCINOMA EPIDERMÓIDE BUCAL EM LÁBIO INFERIOR. ARMELIN, ANGELA MARIA LAURINDO; SILVEIRA, LUCAS DE JESUS DA; SANTOS, RAFAEL CID DOS; STEFANINI, ALINE REIS; BORTOLUZO, PAULO HENRIQUE; SIMONATO, LUCIANA ESTEVAM. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 52. ATENDIMENTO MÉDICO PRÉ-HOSPITALAR NO BRASIL: EVOLUÇÃO HISTÓRICA. FERREIRA, AUGUSTO SÉTTEMO; CRUZ, MARINA COIMBRA DA; CAMARGO, RENAN PAES DE; CRUZ, LUCAS COIMBRA DA; CRUZ, DANIELA MOREIRA DA; CRUZ, MARLENE CABRAL COIMBRA DA. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 53. AVALIAÇÃO DO GRAU DE CONHECIMENTO DE MONITORAS DE CEMEI SOBRE MAUS TRATOS INFANTIL. JOSÉ, BRUNO BRAGA; FERREIRA, AUGUSTO SÉTTEMO; CRUZ, MARINA COIMBRA DA; GIRALDELLI, SHIZUMI ISERI; FERREIRA, FLÁVIO CARLOS RUY. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.P 54. FATORES DE RISCO PARA ACIDENTE VASCULAR ENCEFÁLICO (AVE). CAMARGO, RENAN PAES DE; CRUZ, MARINA COIMBRA DA; CRUZ, LUCAS COIMBRA DA; CRUZ, DANIELA MOREIRA DA; CRUZ, MARLENE CABRAL COIMBRA DA. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.CATEGORIA ORALOr 1. SEDAÇÃO INALATÓRIA COM ÓXIDO NITROSO EM CLÍNICA UNIVERSITÁRIA – RELATO DE CASO. ALVES, TATIANE MARIA SILVA; BOER, NAGIB PEZATI; SANTOS, RAFAEL CID DOS; CORREIA, THIAGO MEDEIROS; FABRIS, ANDRÉ LUIS DA SILVA; CUNHA-CORREIA, ADRIANA SALES. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.Or 2. CISTO DENTÍGERO DIAGNÓSTICO E TRATAMENTO – RELATO DE CASO. SOARES, RODOLFO POLLO; SANTOS, RAFAEL CID DOS; STEFANINI, ALINE REIS; FABRIS, ANDRÉ LUIS DA SILVA; BORTOLUZO, PAULO HENRIQUE; SIMONATO, LUCIANA ESTEVAM. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.Or 3. FOTOGRAFIA ODONTOLÓGICA COM SMARTPHONE. SANTOS, RAFAEL CID DOS; SOARES, RODOLFO POLLO; TOMO, SAYGO; MARCELINO, VANESSA CRISTINA DA SILVA; BARROS, RAISA MENDONÇA; SIMONATO, LUCIANA ESTEVAM; BORTOLUZO, PAULO HENRIQUE; ROLIM, VALÉRIA CRISTINA LOPES DE BARROS. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.Or 4. DIAGNÓSTICO E TRATAMENTO DE NEOPLASIA LIPOMATOSA INCOMUM EM ASSOALHO BUCAL. SANTOS, RAFAEL CID DOS; SOARES, RODOLFO POLLO; TOMO, SAYGO; STEFANINI, ALINE REIS; FABRIS, ANDRÉ LUIS DA SILVA; BORTOLUZO, PAULO HENRIQUE; SIMONATO, LUCIANA ESTEVAM. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.Or 5. SEDAÇÃO CONSCIENTE COM MIDAZOLAM EM ODONTOPEDIATRIA: RELATO DE CASO. MAIA, JESSICA ANSELMO; CORREIA, THIAGO MEDEIROS; CUNHA-CORREIA, ADRIANA SALES. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.Or 6. CONDUTA DO CIRURGIÃO-DENTISTA FRENTE ÀS COMPLICAÇÕES BUCAIS ADVINDAS DA RADIOTERAPIA EM REGIÃO DE CABEÇA E PESCOÇO. PONCIANO, VITÓRIA DE ARAUJO; GIACHETTO, FELIPE; FREITAS, ALANA GARCIA; SUEMI SAKASHITA, MARTHA; ANTONIO, RAQUEL CARROS; SIMONATO, LUCIANA ESTEVAM; CUNHA-CORREIA, ADRIANA SALES. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.Or 7. FRATURA DE COMPLEXO ZIGOMÁTICO-ORBITÁRIO DECORRENTE DE ACIDENTE DE TRABALHO “CHIFRADA DE BOI”. FERNANDES, GABRIELA CAROLINE; MOMESSO, GUSTAVO ANTONIO CORREA; POLO, TÁRIK OCON BRAGA; DUAILIBE, CIRO; JÚNIOR, IDELMO RANGEL GARCIA; FAVERANI, LEONARDO PEREZ. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis / Universidade Estadual Paulista “Júlio de Mesquita Filho” – Campus de Araçatuba Departamento de Cirurgia e Clínica Integrada.Or 8. MICOSE PROFUNDA EM BOCA: DIAGNÓSTICO E CONDUTA CLÍNICA. RODRIGUES, TAWANA GOMES; JUNIOR, CARLOS LEITE DA SILVA; SANTOS, RAFAEL CID DOS; STEFANINI, ALINE REIS; MORETI, LUCIENI CRISTINA TROVATI; BORTOLUZO, PAULO HENRIQUE; SIMONATO, LUCIANA ESTEVAM. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.Or 9. ANAERÓBIOS BUCAIS GRAM-NEGATIVOS EM PACIENTES HIV POSITIVOS COM DIFERENTES CONDIÇÕES IMUNOLÓGICAS. GIACHETTO, FELIPE; SILVA, WAGNER RAFAEL DA; BOER, NAGIB PEZATI; BOSQUE, ALINE VALSECHI; MECA, LIVIA BUZATI; GAETTI-JARDIM, ELLEN CRISTINA; JÚNIOR, ELERSON GAETTI-JARDIM; CUNHA-CORREIA, ADRIANA SALES. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis/ FOA-UNESP – Campus Araçatuba.Or 10. TRATAMENTO CIRÚRGICO DE CARCINOMA ESPINOCELULAR EM LÁBIO – RELATO DE CASO. MARCELINO, VANESSA CRISTINA DA SILVA; STEFANINI, ALINE REIS; LUCIA, MARIANGELA BORGHI INGRACI DE; FABRIS, ANDRÉ LUIS DA SILVA; SIMONATO, LUCIANA ESTEVAM. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.Or 11. APRESENTAÇÃO CLÍNICA SEVERA DE LÍQUEN PLANO: RELATO DE CASO. HERNANDES, ANA CAROLINA PUNHAGUI; GOMES, LARA STORTE; SANTOS, RAFAEL CID DOS; TOMO, SAYGO; BORTOLUZO, PAULO HENRIQUE; SIMONATO, LUCIANA STEVAM. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.Or 12. TRATAMENTO DE HEMANGIOMA EM LÁBIO SUPERIOR COM AGENTE ESCLEROSANTE. TONIOLI, ISABELA BOMBONATO; TOMO, SAYGO; BOER, NAGIB PEZATI; SIMONATO, LUCIANA ESTEVAM; LUCIA, MARIÂNGELA BORGHI INGRACI DE. Universidade Camilo Castelo Branco - UNICASTELO - Campus Fernandópolis.Or 13. OBLITERAÇÃO DE TÚBULOS DENTINÁRIOS UTILIZANDO DENTIFRÍCIOS CONTENDO TRIMETAFOSFATO DE SÓDIO APÓS DESAFIO ÁCIDO. ESTUDO IN VITRO. TOLEDO, PRISCILA TONINATTO ALVES DE; FAVRETTO, CARLA OLIVEIRA; SILVA, MÁRJULLY EDUARDO RODRIGUES DA; DANELON, MARCELLE; MORAIS, LEONARDO ANTÔNIO DE; DELBEM, ALBERTO CARLOS BOTAZZO; PEDRINI, DENISE. Faculdade de Odontologia de Araçatuba, Universidade Estadual Paulista “Júlio de Mesquita Filho” - UNESP.Or 14. EFEITO DA ADIÇÃO DO HEXAMETAFOSFATO DE SÓDIO NO CIMENTO DE IONÔMERO DE VIDRO SOBRE A DESMINERALIZAÇÃO DO ESMALTE. MORAIS, LEONARDO ANTONIO DE; HOSIDA, THAYSE YUMI; TOLEDO, PRISCILA TONINATTO ALVES DE; DANELON, MARCELLE; SOUZA, JOSÉ ANTÔNIO SANTOS; DELBEM, ALBERTO CARLOS BOTAZZO; PEDRINI, DENISE. Faculdade de Odontologia de Araçatuba - Universidade Estadual Paulista “Júlio de Mesquita Filho” - UNESP.

Introduction Curation-related discourses have become widespread. The growing public profile of curators, the emergence of new curation-related discourses and their proliferation beyond the confines of museums, particularly on social media, have led some to conclude that we now live in an age of curation (Buskirk cited in Synder). Curation is commonly understood in instrumentalist terms as the evaluation, selection and presentation of artefacts around a central theme or motif (see O’Neill; Synder). However, there is a growing academic interest in what underlies the shifting discourses and practices. Many are asking what do these changes mean (Martinon) now that “the curatorial turn” has positioned curation as a legitimate object of academic study (O’Neill). This article locates an exploration of the curatorial turn in journalism studies since 2010 within the shifting meanings of curation from antiquity to the digital age. It argues that the industry is facing a Foucauldian moment where the changing political economy of news and the proliferation of user-generated content on social media have disrupted the monopolies traditional news media held over the circulation of knowledge of current affairs and the power this gave them to shape public debate. The disruptions are profound, prompting a rethinking of journalism (Peters and Broersma; Schudson). However, debates have polarised between those who view news curation as symptomatic of the demise of journalism and others who see it as part of a wider revival of the profession, freed from monopolistic institutions to circulate a wider array of knowledge and viewpoints (see Picard). This article eschews such polarisations and instead draws on Robert Picard’s argument that journalism is in transition and that journalism, as a set of professional practices, is adapting to the age of curation but that those traditional news providers that fail to adapt will most likely decline. However, Picard’s approach does not address the definitional problem as to what distinguishes news curating from other journalistic practices when the commonly used instrumental definition can apply to editing. This article aims to negotiate this problem by addressing some of the conceptual ambiguities that arise from wholly instrumental notions of news curation. From “Cura” to the Curatorial Turn and the Age of Curation Modern instrumentalist definitions are necessary but not sufficient for an exploration of the curatorial turn in journalism. Tracing the meanings of curation over time facilitates an expansion of the instrumental to include metaphoric conceptualisations. The term originated in a Latin allegory about a mythological figure, personified as the “cura”, translated literally as care or concern, and who created human beings from the clay of the earth. Having created the human, the cura was charged by the gods with the lifelong care of the human (Reich) and at the same time became a symbol of curiosity and creativity (see Nowotny). “Curators” first emerged in Imperial Rome to denote a public officer charged with maintaining order and the emperor’s finances (Nowotny) but by the fourteenth century the meaning had shifted to that of religious officer charged with the care of souls (Gaskill). At this point the metaphorical associations of creativity and curiosity subsided. Six hundred years later souls had been replaced by artefacts valorised because of their contribution to human knowledge or as a testament to exceptional human creativity (Nowotny). Objects of curiosity and originality, as well as their creators, were reified and curation became the specialist practice of an expert custodian charged with the care and preservation of artefacts but relegated to the background to collect, evaluate and archive artefacts entrusted to the care of museums and to be preserved for future generations. Instrumentalist meanings thus dominated. From the 1960s discourses shifted again from the privileging of a “producer who actually creates the object in its materiality” to an entire set of actors (Bourdieu 261). These shifts were part of the changing political economy of museums, the growing prevalence of exhibitions and the emergence of mega-exhibitions hosted in global cities and capable of attracting massive audiences (see O’Neill). The curator was no longer seen merely as a custodian but able to add cultural value to artefacts when drawing individual items together into a collection, interpreting their relevance to a theme then re-presenting them through a story or visuals (see O’Neill). The verb “to curate”, which had first entered the English lexicon in the early 1900s but was used sporadically (Synder), proliferated from the 1960s in museum studies (Farquharson cited in O’Neill) as mega-exhibitions attracted publicity and the higher profile of curators attracted the attention of intellectuals prompting a curatorial turn in museum studies. The curatorial turn in museum studies from the 1980s marks the emergence of curation as a legitimate object of academic enquiry. O’Neill identified a “Foucauldian moment” in museum studies where shifting discourses signified challenges to, and disruptions of, traditional forms of knowledge-based power. Curation was no longer seen as a neutral activity of preservation, but one located within a contested political economy and invested with contradictions and complexities. Philosophers such as Martinon and Nowotny have highlighted the impossibility of separating the oversight of valuable artefacts from the processes by which these are selected, valorised and signified and what, at times, has been the controversial appropriation of creative outputs. Thus, a new critical approach emerged. Recently, curating-related discourses have expanded beyond the “rarefied” world of museum studies (Synder). Social media platforms have facilitated the proliferation of user-generated content offering a vast array of new artefacts. Information circulates widely and new discourses can challenge traditional bases of knowledge. Audiences now actively search for new material driven in part by curiosity and a growing distrust of the professions and establishments (see Holmberg). The boundaries between professionals and lay people are blurring and, some argue, knowledge is being democratized (see Ibrahim; Holmberg). However, as new information becomes voluminous, alternative truths, misinformation and false information compete for attention and there is a growing demand for the verification, selection and presentation of artefacts, that is online curation (Picard; Bakker). Thus, the appropriation of social media is disrupting traditional power relations but also offering new opportunities for new information-related practices. Journalism is facing its own Foucauldian moment. A Foucauldian Moment in Journalism Studies Journalism has been traditionally understood as capturing today’s happenings, verifying the facts of an event, then presenting these as a narrative that reporters update as news unfolds. News has been seen as the preserve of professionals trained to interview eyewitnesses or experts, to verify facts and to compile what they found into a compelling narrative (Hallin and Mancini). News-gathering was typically the work of an individual tasked with collecting stand-alone stories then passing them onto editors to evaluate, select, prioritise and collate these into a collection that formed a newspaper or news programme . This understanding of journalism emerged from the 1830s along with a type of news that was accessible, that large numbers of people wanted to read and that, consequently, attracted advertising making news profitable (Park). The idea that presumed trained journalists were best placed to produce news appeared first in the UK and USA then spread worldwide (Hallin and Mancini). At the same time as there was growing demand for news, space constraints restricted how much could be published and the high costs of production served as a barrier to entry first in print then later in broadcast media (Picard; Curran and Seaton). The large news organisations that employed these professionals were thus able to control the circulation of information and knowledge they generated and the editors that selected content were able, in part, to shape public debates (Picard; Habermas). Social media challenge the control traditional media have had over the production and dissemination of news since the mid-1800s. Practically every major global news story in 2010 and 2011 from natural disasters to uprisings was broken by ordinary people on social media (Bruns and Highfield). Twitter facilitates a steady stream of updates at an almost real-time speed that 24-hour news channels cannot match. Facebook, Instagram and blogs add commentary, context, visuals and personal stories to breaking news. Experts and official sources routinely post announcements on social media platforms enabling anyone to access much of the same source material that previously was the preserve of reporters. Investigations by bloggers have exposed abuses of power by companies and governments that journalists on traditional media have failed to (Wischnowski). Audiences and advertisers are migrating away from traditional newspapers to a range of different online platforms. News consumers now actively use search engines to find available information of interest and look for efficient ways of sifting through the proliferation of the useful and the dubious, the revelatory and the misleading or inaccurate (see Picard). That is, news organisations and the professional journalists they employ are increasingly operating in a hyper-competitive (see Picard) and hyper-sceptical environment. This paper posits that cumulatively these are disrupting the control news organisations have and journalism is facing a Foucauldian moment when shifting discourses signify a disturbance of the intellectual rules that shape who and what knowledge of news is produced and hence the power relations they sustain. Social media not only challenge the core news business of reporting, they also present new opportunities. Some traditional organisations have responded by adding new activities to their repertoire of practices. In 2011, the Guardian uploaded its entire database of the expense claims of British MPs onto its Website and invited readers to select, evaluate and comment on entries, a form of crowd-sourced curating. Andy Carvin, while at National Public Radio (NPR) built an international reputation from his curation of breaking news, opinion and commentary on Twitter as Syria became too dangerous for foreign correspondents to enter. New types of press agencies such as Storyful have emerged around a curatorial business model that aggregates information culled from social media and uses journalists to evaluate and repackage them as news stories that are sold onto traditional news media around the world (Guerrini). Research into the growing market for such skills in the Netherlands found more advertisements for “news curators” than for “traditional reporters” (Bakker). At the same time, organic and spontaneous curation can emerge out of Twitter and Facebook communities that is capable of challenging news reporting by traditional media (Lewis and Westlund). Curation has become a common refrain attracting the attention of academics. A Curatorial Turn in Journalism The curatorial turn in journalism studies is manifest in the growing academic attention to curation-related discourses and practices. A review of four academic journals in the field, Journalism, Journalism Studies, Journalism Practice, and Digital Journalism found the first mention of journalism and curation emerged in 2010 with references in nearly 40 articles by July 2015. The meta-analysis that follows draws on this corpus. The consensus is that traditional business models based on mass circulation and advertising are failing partly because of the proliferation of alternative sources of information and the migration of readers in search of it. While some of this alternative content is credible, much is dubious and the sheer volume of information makes it difficult to discern what to believe. It is unsurprising, then, that there is a growing demand for “new types and practices of curation and information vetting” that attest to “the veracity and accuracy of content” particularly of news (Picard 280). However, academics disagree on whether new information practices such as curation are replacing or supplementing traditional newsgathering. Some look for evidence of displacement in the expansion of job advertisements for news curators relative to those for traditional reporters (Bakker). Others look at how new and traditional practices co-exist in organisations like the BBC, Guardian and NPR, sometimes clashing and sometimes collaborating in the co-creation of content (McQuail cited in Fahy and Nisbet; Hermida and Thurman). The debate has polarised between whether these changes signify the “twilight years of journalism or a new dawn” (Picard). Optimists view the proliferation of alternative sources of information as breaking the control traditional organisations held over news production, exposing their ideological biases and disrupting their traditional knowledge-based power and practices (see Hermida; Siapera, Papadopoulou, and Archontakis; Compton and Benedetti). Others have focused on the loss of “traditional” permanent journalistic jobs (see Schwalbe, Silcock, and Candello; Spaulding) with the implication that traditional forms of professional practice are in demise. Picard rejects this polarisation, counter-arguing that much analysis implicitly conflates journalism as a practice with the news organisations that have traditionally hosted it. Journalists may or may not be located within a traditional media organisation and social media is offering numerous opportunities for them to operate independently and for new types of hybrid practices and organisations such as Storyful to emerge outside of traditional operations. Picard argues that making the most of the opportunities social media presents is revitalising the profession offering a new dawn but that those traditional organisations that fail to adapt to the new media landscape and new practices are in their twilight years and likely to decline. These divergences, he argues, highlight a profession and industry in transition from an old order to a new one (Picard). This notion of journalism in transition usefully negotiates confusion over what curation in the social media age means for news providers but it does not address the uncertainty as to where it sits in relation to journalism. Futuristic accounts predict that journalists will become “managers of content rather than simply sourcing one story next to another” and that roles will shift from reporting to curation (Montgomery cited in Bakker; see Fahy and Nisbet). Others insist curators are not journalists but “information workers” or “gatecheckers” (McQuail 2013 cited in Bakker; Schwalbe, Silcock, and Candello) thereby differentiating the professional from the manual worker and reinforcing the historic elitism of the professions by implying curation is a lesser practice. However, such demarcation is problematic in that arguably both journalist and news curator can be seen as information workers and the instrumental definition outlined at the beginning of this article is as relevant to curation as it is to news editing. It is therefore necessary to revisit commonly used definitions (see Bakker; Guerrini; Synder). The literature broadly defines content creation, including news reporting, as the generation of original content that is distinguishable from aggregation and curation, both of which entail working with existing material. News aggregation is the automated use of computer algorithms to find and collect existing content relevant to a specified subject followed by the generation of a list or image gallery (Bakker; Synder). While aggregators may help with the collection component of news curation, the practices differ in their relation to technology. Apart from the upfront human design of the original algorithm, aggregation is wholly machine-driven while modern news curation adds human intervention to the technological processes of aggregation (Bakker). This intervention is conscious rather than automated, active rather than passive. It brings to bear human knowledge, expertise and interpretation to verify and evaluate content, filter and select artefacts based on their perceived quality and relevance for a particular topic or theme then re-present them in an accessible form as a narrative or infographics or both. While it does not involve the generation of original news content in the way news reporting does, curation is more than the collation of information. It can also involve the re-presenting of it in imaginative ways, the re-formulating of existing content in new configurations. In this sense, curation can constitute a form of creativity increasingly common in the social media age, that of re-mixing and re-imagining of existing material to create something novel (Navas and Gallagher). The distinction, therefore, between content creation and content curation lies primarily in the relation to original material and not the assumed presence or otherwise of creativity. In addition, curation outputs need not stand apart from news reports. They can serve to contextualize news in ways that short reports cannot while the latter provides original content to sit alongside curated materials. Thus the two types of news-related practices can complement rather than compete with each other. While this addresses the relation between reporting and curation, it does not clarify the relation between curating and editing. Bakker eludes to this when he argues curating also involves “editing … enriching or combining content from different sources” (599). But teasing out the distinctions is tricky because editing encompasses a wide range of sub-specialisations and divergent duties. Broadly speaking, editors are “newsrooms professionals … with decision-making authority over content and structure” who evaluate, verify and select information so are “quality controllers” in newsrooms (Stepp). This conceptualization overlaps with the instrumentalist definition of curation and while the broad type of skills and tasks involved are similar, the two are not synonymous. Editors tends to be relatively experienced professionals who have worked up the newsroom ranks whereas news curators are often new entrants ultimately answerable to editors. Furthermore, curation in the social media age involves voluminous material that curators sift through as part of first level content collection and it involves ever more complex verification processes as digital technologies make it increasingly easy to alter and falsify information and images. The quality control role of curators may also involve in-house specialists or junior staff working with external experts in a particular region or specialisation (Fahy and Nisbett). Some of job advertisements suggest a growing demand for specialist curatorial skills and position these alongside other newsroom professionals (Bakker). Whether this means they are journalists is still open to question. Conclusion This article has presented a more expansive conceptualisation of news curation than is commonly used in journalism studies, by including both the instrumental and the symbolic dimensions of a proliferating practice. It also sought to avoid confining this wider conceptualisation within unhelpful polarisations as to whether news curation is symbolic of a wider demise or revival of journalism by distinguishing the profession from the organisation in which it operates. The article was then free to negotiate the conceptual ambiguity surrounding the often taken-for-granted instrumental meanings of curation. It argues that what distinguishes news curation from traditional newsgathering is the relationship to original content. While the reporter generates the journalistic equivalent of original content in the form of news, the imaginative curator re-mixes and re-presents existing content in potentially novel ways. This has faint echoes of the mythological cura creating something new from the existing clay. The other conceptual ambiguity negotiated was in the definitional overlaps between curating and editing. On the one hand, this questions the appropriateness of reducing the news curator to the status of an “information worker”, a manual labourer rather than a professional. On the other hand, it positions news curators as one of many types of newsroom professionals. What distinguishes them from others is their status in the newsroom, the volume, nature and verification of the material they work with and the re-mixing of different components to create something novel and useful. References Bakker, Piet. “Mr. Gates Returns: Curation, Community Management and Other New Roles for Journalists.” Journalism Studies 15.5 (2014): 596-606. Bourdieu, Pierre. The Field of Cultural Production. New York: Columbia UP, 1993. Bruns, Axel, and Tim Highfield. “Blogs, Twitter, and Breaking News: The Produsage of Citizen Journalism.” Produsing Theory in a Digital World: The Intersection of Audiences and Production in Contemporary Theory. New York: Peter Lang. 15–32. Compton, James R., and Paul Benedetti. “Labour, New Media and the Institutional Restructuring of Journalism.” Journalism Studies 11.4 (2010): 487–499. Curran, J., and J. Seaton. “The Liberal Theory of Press Freedom.” Power without Responsibility. London: Routledge, 2003. Fahy, Declan, and Matthew C. 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Hermida, Alfred, and Neil Thurman. “A Clash of Cultures: The Integration of User-Generated Content within Professional Journalistic Frameworks at British Newspaper Websites.” Journalism Practice 2.3 (2008): 343–356. Holmberg, Christopher. “Politicization of the Low-Carb High-Fat Diet in Sweden, Promoted on Social Media by Non-Conventional Experts.” International Journal of E-Politics (2015). Ibrahim, Yasmin. “The Discourses of Empowerment and Web 2.0.” Handbook of Research on Web 2.0, 3.0, and X.0: Technologies, Business, and Social Applications. Ed. San Murugesan. Hershey, PA, IGI Global, 2010. 828–845. Lewis, Seth C., and Oscar Westlund. “Actors, Actants, Audiences, and Activities in Cross-Media News Work.” Digital Journalism (July 2014 ): 1–19. Martinon, Jean-Paul. The Curatorial: A Philosophy of Curating. Ed. Jean-Paul Martinon. London: Bloomsbury P, 2013. Navas, Eduardo, and Owen Gallagher, eds. Routledge Companion to Remix Studies. London and New York: Routledge, 2014. 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Issues in Curating Contemporary Art and Performance. Bristol: Intellect, 2007. Schudson, Michael. “Would Journalism Please Hold Still!” Re-Thinking Journalism. Eds. Chris Peters and Marcel Broersma. Abingdon: Routledge, 2013. Schwalbe, Carol B., B. William Silcock, and Elizabeth Candello. “Gatecheckers at the Visual News Stream.” Journalism Practice 9.4 (2015): 465-83. Siapera, Eugenia, Lambrini Papadopoulou, and Fragiskos Archontakis. “Post-Crisis Journalism.” Journalism Studies 16.3 (2014): 449–465. Spaulding, S. “The Poetics of Goodbye: Change and Nostalgia in Goodbye Narratives Penned by Ex-Baltimore Sun Employees.” Journalism (2014): 1–14. Stepp, Carl Sessions. Editing for Today’s Newsroom: New Perspectives for a Changing Profession. Abingdon: Lawrence Erlbaum, 2013. Synder, Ilana. “Discourses of ‘Curation’ in Digital Times.” Discourse and Digital Practices: Doing Discourse Analysis in the Digital Age. Eds. Rodney H. Harris, Alice Chik, and Christoph Hafner. 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Introduction Decision making on the fireground is a complex activity reflected in the cultural image of fire in contemporary Western societies, the expertise of firefighters and the public demand for response to fire. The split second decisions that must be made by incident commanders on the fireground demonstrate that the dominant models of rational, logical argument and naturalistic decision making are incapable of dealing with this complexity. Twelve senior ranking Australian fire officers participated in the investigation from which I propose that fireground incident commanders are relying on aesthetic awareness and somatic responses, similar to those of an artist, and that due to the often ineffable nature of their responses these sources of information are usually unacknowledged. As a result I have developed my own theory of decision making on the fireground, termed ‘Multimodal Decision Making’, which is distinguished from formal rationality and informal sense-based rationality in that it approaches art, science and practice as a complex and irreducible whole. Fire – Complex Decision Making The complex reality of a fireground incident is not effectively explained by decision making models based on logic. These models understand decision making in terms of a rational choice between various options (Dowie) and tend to oversimplify decision making. Grouped together they are commonly described as ‘traditional’. Recent research and the development of an alternative understanding, termed naturalistic decision making, has demonstrated that under the pressures of an emergency situation there is just not time enough to weight up alternatives (Flin, Salas, Strub and Martin; Klein). Naturalistic decision making draws on the cognitive sciences to explain how incident commanders make decisions when they are not using probability theory or rational logic (Montgomery, Lipshitz and Brehmer). Although I appreciate various aspects of the naturalistic models of decision making (Cannon-Bowers and Salas; Flin and Arbuthnot; Zsambok and Klein), the problem for me is that the research has been conducted from a cognitive task analysis perspective where typically each decision has been broken down into its supposed constituent parts, analysed and then reassembled. I understand this process to be counterproductive to appreciating complex and interrelated decision making. I propose an alternative explanation which I call Multimodal Decision Making. Multimodal Decision Making recognises that probability theory or rational logic does not adequately explain how incident commanders balance feelings of contradictory information in parallel, and by the very clash or strangeness of the juxtaposition, see a way forward. This is reasoning by similarity rather than calculation. I suggest that the mechanistic rational processes do not necessarily disappear, but that they are assimilated into a dynamic, as opposed to inflexible and rigid, approach to decision making. The following excerpt from a country Inspector is provided to illustrate the role of aesthetic awareness and somatic perception in fireground decision making. The Trembling Voice Early one morning a country Inspector is called out to a factory fire in a town, normally one hour’s drive away. It takes him 40 minutes to drive to the fire, and on the way he busies himself receiving two updates from the communications centre and talking by radio to the first arriving officer at the incident. Nothing the first arriving officer said was unusual or alarming. What was alarming, said the Inspector, was the very slight tremor in the first arriving officer’s voice. It contained a hint of fear. …so I got the message from the first pump that was on the scene. I could hear in his voice that he was quivering, so I thought ‘I am not too sure if he is comfortable, I’d better get him some help’ so I rang up the communications centre, and I said ‘Listen, I know you have got these two trucks coming from A., you’ve got the rural fire service’, I said ‘you need to send U. up now…I may have waited another 10 or 15 minutes before I said ‘Ok you better get G. there’ – it’s only another 40km maybe, I said ‘get them on the road as well.’ V – This is all while you are in the car? All while I am in the car driving to the incident, I am building a mental picture of what’s happening, and from hearing his voice, I felt that he was maybe not in control because of the quivering in it. V – Did you know him well already? Yeah I knew him sort of well enough… I could just tell, he sounded like he was in trouble…I felt once I arrived, he more or less – I could feel a weight come off his shoulders, ‘You’re here now, I don’t have to deal with this anymore, its all yours.’ The Inspector deduced the incident was possibly more serious than the communications centre had so far anticipated. He organised backup appliances, and these decisions, maintained the Inspector, were prompted by the “quivering” in the officer’s voice. On arrival he saw immediately that his call for backup was indeed necessary, because the fire was moving out of control with the possibility of spreading. Although the Inspector in this incident was not physically present, he relied on his aesthetic awareness and somatic perception to inform his decision making. He would have been justified if he acted only on the basis of incoming communications, which were presented in scientifically measurable terms: “factory well alight, two appliances in attendance…” and so on; nothing out of the ordinary, a straightforward incident. In fact, what he responded to was not the information he received as a verbal message, but rather the slight tremor in the first arriving officer’s voice. That is, the Inspector’s aesthetic awareness and somatic perception informed his decision to call for backup, overriding the word-information contained in the verbal report. Fire – Complex Cultural Image Fire is a complex object in itself and in a threatening context, such as the engulfment of an inhabited building, creates a complex environment which in turn, for me as a researcher, requires a complex method of inquiry. As a result I have been obliged to draw on theories of art and art criticism as part of my own method of enquiry and I have adopted Eisner and Powell’s application of aesthetics: It may be that somatic forms of knowledge – the use of the physical body as a source of information – play an important role in enabling scientists to make judgements about alternative courses of action or directions to pursue. It might be that qualitative cues are difficult to articulate, indeed clues that may themselves be ineffable, are critical for doing productive scientific work. (134) That is, sometimes the physical body is used as a source of information, and sometimes it is difficult to express in words how this happens. The following incident illustrates the importance of somatic awareness in decision making from an Inspector’s perspective. A Smell of Petrol In this incident a country Inspector was called to a row of factory units. The smell of petrol had been happening on and off over a period of 18 months, but now in the toilet of one shop it had become unbearable. The Inspector set his crew to work with a device that detects levels of petrol in the air, that he called a ‘sniffer’. When the ‘sniffer’ did not register a high value for petrol the Inspector considered the machine to be faulty and trusted his own sense of smell and that of his crew, over the ‘sniffer’. Decisions in this incident were informed by somatic response to the situation. In the Smell of Petrol, the Inspector considered his nose a more reliable source of information than a mechanised ‘sniffer’. Burning Ears Continuing the theme of mechanisation and technology, personal protective equipment, one Inspector informed me, has become so effective that firefighters are able to move much deeper into a fire than ever before. The new technology comes with a price. Previously firefighters perceived the sensation of their ears burning to be a warning sign. This somatic response has now been effectively curtailed. Technology in the form of increasing personal protective equipment, complex communication systems and sophisticated firefighting equipment is usually understood as increasing the opportunity to prevent and control an incident. Perhaps an alternative perspective could be that increasingly sophisticated technology is replacing somatic response with dangerous implications? Somatic awareness is developed within a cultural context. On the fireground, I understand the cultural context to be the image, as a fire is a moving, alive image demanding an immediate response. An arsonist may look for a fire to spiral out of control, enjoying the spectacle of an entire building being engulfed and spreading to the next office block. What is it that firefighters are looking for? What do they see? What directs their attention? Firefighters invariably see what they have been trained to see – smoke escaping from under the eaves, melting rubber between clip-lock walls, cracks in structural concrete, the colour and density of the smoke and so on. Their perception of signs, indicating their appreciation of the situation, and they way they perceive these signs – they look for them, gauge and measure their progress and act in response, are all intensified by time pressure and the imperative and means to do something. This is in sharp contrast to an arsonist or even the general public watching the fire’s progress on the TV news. The ability to comprehend and act on the visual is called aesthetics in the discipline of art criticism. I use the words ‘aesthetic awareness’ to mean the way an activity of perception is organised and informed to unspoken, but shared, principles for recognising fire features and characteristics; being able to share these principles helps with the building of an identity of expertise. In firefighting, as in other emergency service work, an aesthetic appreciation of the scene it is technically termed situational awareness (Banbury and Tremblay; Craig; Endsley and Garland) and sometimes colloquially known as a size-up. This is when incident commanders appraise the fireground and on the basis of their judgement, make decisions involving, for example, the placement of personnel and resources, calling for backup and so on. It is at this stage that the expertise of the incident commander is fore grounded and I suggest that a linear approach to decision making does not fully explain the complexities involved when a small input or adjustment can lead to very dramatic consequences. In fact, a small input leading to dramatic consequences is likely to indicate a non-linear system (Lewin). In a non-linear dynamic system, such as a fireground, some things may appear random, but they are known equations. Pink heralds a visual and non-linear approach, “perhaps some of the problems we face when we write linear texts with words as our only tool can be resolved by thinking of anthropology and its representations as not solely verbal, but also visual and not simply linear but multilinear” (Pink 10). With linear thinking there is a beginning and an end, which leads naturally to the supposition of cause and effect. This is because there is no looping back into the whole; it is as if there are many beginnings, leading to a fragmented sort of perception. Language shapes the way we perceive issues by virtue of the words we have to create our impressions with. Unfortunately, English and Western languages in general are not equipped for a multimodal communication. We are, by the structure of our language, almost squeezed into the position of talking linearly in terms of cause and effect for understanding what is happening. Fire – Complex Experience Creative decision making occurs when the person has a deep knowledge of the discipline. Great flashes of insight rarely come to the inexperienced mind. People who don’t understand rhythm, melody and harmony will not be able to compose complex pieces of music. Creative and innovative decision making on the fireground will not be possible without prior experience regarding how various materials react on combustion, the structure of the organisational hierarchy, crew configurations and the nature of the fire being fought. There is beginner’s luck of course, but this will not be a consistent approach to an otherwise fearful and dangerous situation, because knowing what to expect means feeling less danger and less fear, freeing up more energy to respond creatively. For example, consider a junior firefighter trembling in fear prior to their first incident, compared with an experienced firefighter who feels anticipation and exhilaration. We live in a world of specialisation and expert opinion, even if there is a certain cynicism creeping in over what makes someone an expert. Taylorism has ultimately produced people with high technical skills in one area and a lack of ability to see the whole picture (Konzelmann, Forrant and Wilkinson).As a counterbalance there is a current push towards multi-skilling and flattened hierarchies. For firefighting organisations this creates an interesting challenge. On the one hand there is a concentration on highly technical skill development which involves acknowledging the importance of team work; on the other, the demands of a time critical situation in which the imperative is to act quickly and decisively for the best possible outcome. Ultimate decision making responsibility lies with the incident commander who must be able to negotiate the complexity of the scene in its entirety, balancing competing demands rather than focusing solely on one aspect. The ease with which incident commanders move through the decision making process, perceiving the situation, looking at the fire and sizing it up, is not reliant on eyesight alone. It involves their ability to adjust, reframe, and move through the incident without losing their bearings, no matter how or where they are physically situated in relation to the fire. Seeing does not involve only eyesight, it sums up the experience of becoming so familiar and integrated with the aspects of fire behaviour that expert incident commanders do not lose their bearings in the process of changing their physical location. Often they rely on incoming intelligence to develop a three dimensional perspective of the fireground. They have a multimodal perspective, a holistic vista, because their sensory relationship with the fire is so thorough and extensive. Just looking at the fire for the incident commander, is not just looking at the fire, it is an aesthetic experience in which there is a shared standard for recognising what is happening, if not what should be done to mitigate it. Participating in the knowledge of these standards, these ways of seeing, is recognised as part of the identity of the group member. Nelson (97), who specialised in visually reading the man-made environment, wrote “we see what we are looking for, what we have been trained to see by habit or tradition.” Firefighters are known and respected within their cultural context by their depth of understanding of these shared standards. These shared standards may or may not be a reflection of the ideal or organisationally endorsed standard operating guidelines. I suggest that a heightened situational awareness and consequent decision making may be a visible indication of contribution and inclusion within the cultural practices of firefighting. Thus seeing involves not only eyesight, but also being a part of a cultural context; for example interpreting individualised body movements and gestures. Standard operating guidelines place rules and constraints on incident commanders. These guidelines provide a hierarchy of needs, and prescribe recommended approaches for various fireground contingencies. This does not mean that incident commanders are not creative. “Play and art without rules is uninteresting. Absolute liberty is boring” (Karlqvist 111). Within the context of the fireground, creative experience is deliberate as opposed to random. The creation of innovative approaches does not happen in a vacuum; rather it is the result of playing with the rules, stretching them, moving and testing them. It is essential to maintain common operating guidelines, or rules, because they form a stock body of common knowledge, but it is also essential to break the rules and play around with them. Karlqvist (112) writes “mastery reveals itself as breaking rules. The secret of creativity hinges on this insight, to know the right moment when you can go too far”. There are experts who are trained to be mechanical, and there are experts, such as the incident commanders I interviewed, who integrate and sometimes override the mechanical list of rules. Multimodal Decision Making is not primarily about an objective representation of the ‘truth’, but rather the unpredictable and complex conditions which incident commanders must negotiate. Conclusion When dealing with a complex and dynamic system, cause and effect are not sufficient explanation for what is happening. Instead of linear progression we are looking at a feedback or circular system, in which a small act may produce a larger reaction. Decision making on the fireground is a complex and difficult activity. Its complexity stems from the uncertain variables, the immediate threat to life and property, the safety of the crew, trapped victims, observing public, the perceptions reported by the media and the statutory obligations that motivate firefighters to their tasks are intricately interwoven. This melting pot of variable contingencies creates a complex working environment which I suggest is negotiated by a little acknowledged ability to integrate somatic and aesthetic awareness into decision making in time critical situations. When dealing with a complex and dynamic system, cause and effect are not sufficient explanation for what is happening. Instead of linear progression we are looking at a feedback or circular system, in which a small act may produce a larger reaction. Decision making on the fireground is a complex and difficult activity. Its complexity stems from uncertain variables which include the immediate threat to life and property, the safety of the crew, trapped victims, and observing public, the perceptions reported by the media and the statutory obligations that motivate firefighters to their tasks, all of which are intricately interwoven. This melting pot of variable contingencies creates a complex working environment which I suggest is negotiated by a little acknowledged ability to integrate somatic and aesthetic awareness into decision making in time critical situations. References Banbury, Simon, and Sebastian Tremblay, eds. A Cognitive Approach to Situational Awareness: Theory and Application. Hampshire, England: Ashgate, 2004. Cannon-Bowers, Janis, and Eduardo Salas. Making Decisions under Stress. Washington: American Psychological Association, 1998. Craig, Peter. Situational Awareness: Controlling Pilot Error. New York: McGraw-Hill, 2001. Dowie, Jack. “Clinical Decision Analysis: Background and Introduction.” In Analysing How We Reach Clinical Decisions, eds. H. Llewellyn & A. Hopkins. London: Royal College of Physicians, 1993. Eisner, Elliot, and Kimberly Powell. “Art in Science?” Curriculum Inquiry 32.2 (2002): 131-159. Endsley, Mica, and Daniel Garland, eds. Situational Awareness Analysis and Measurement. New Jersey: Lawrence Erlbaum Associates, 2000. Flin, Rhona, and Kevin Arbuthnot. Incident Command: Tales from the Hot Seat. England: Ashgate, 2002. Flin, Rhona, Eduardo Salas, M. Strub, and L. Martin, eds. Decision Making under Stress. England: Ashgate, 1997. Karlqvist, Aka. “Creativity: Some Historical Footnotes from Art and Science.” Ake Andersson and Nihls-Eric Sahlin, eds. The Complexity of Creativity. Dordrecht: Kluwer, 1997. Klein, Gary. Sources of Power. Massachusetts: Massachusetts Institute of Technology, 1998. Konzelmann, Suzanne, Robert Forrant, and Frank Wilkinson. “Work Systems, Corporate Strategies and Global Markets: Creative Shop Floors or ‘a Barge Mentality’?” Industrial Relations Journal 35.3 (2004). Lewin, Roger. Complexity: Life at the Edge of Chaos. 2nd ed. Chicago: U of Chicago P, 1999. Montgomery, Henry, and Raanan Lipshitz, and Berndt Brehmer, eds. How Professionals Make Decisions. New Jersey: Lawrence Erlbaum, 2005. Nelson, George. How to See: A Guide to Reading Our Manmade Environment. Boston: Little, Brown and Company, 1977. Pink, Sarah. “Introduction: Situating Visual Research.” In Working Images, eds. Sarah Pink, Laszlo Kurti, and Ana Isabel Afonso. New York: Routledge, 2004. Zsambok, Caroline, and Gary Klein. Naturalistic Decision Making. New Jersey: Lawrence Erlbaum, 1997. Citation reference for this article MLA Style Ingham, Valerie. "Decisions on Fire." M/C Journal 10.3 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0706/06-ingham.php>. APA Style Ingham, V. (Jun. 2007) "Decisions on Fire," M/C Journal, 10(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0706/06-ingham.php>.

Many years ago, while studying in Paris as a novice postgraduate, I was invited to accompany a friend to a seminar with Jacques Derrida. I leapt at the chance even though I was only just learning French. Although I tried hard to follow the discussion, the extent of my participation was probably signing the attendance sheet. Afterwards, caught up on the edges of a small crowd of acolytes in the foyer as we waited out a sudden rainstorm, Derrida turned to me and charmingly complimented me on my forethought in predicting rain, pointing to my umbrella. Flustered, I garbled something in broken French about how I never forgot my umbrella, how desolated I was that he had mislaid his, and would he perhaps desire mine? After a small silence, where he and the other students side-eyed me warily, he declined. For years I dined on this story of meeting a celebrity academic, cheerfully re-enacting my linguistic ineptitude. Nearly a decade later I was taken aback when I overheard a lecturer in philosophy at the University of Sydney re-telling my encounter as a witty anecdote, where an early career academic teased Derrida with a masterful quip, quoting back to him his own attention to someone else’s quote. It turned out that Spurs, one of Derrida’s more obscure early essays, employs an extended riff on an inexplicable citation found in inverted commas in the margins of Nietzsche’s papers: “J’ai oublié mon parapluie” (“I have forgotten my umbrella”). My clumsy response to a polite enquiry was recast in a process of Chinese whispers in my academic community as a snappy spur-of-the-moment witticism. This re-telling didn’t just selectively edit my encounter, but remixed it with a meta-narrative that I had myself referenced, albeit unknowingly. My ongoing interest in the more playful breaches of scholarly conventions of quotation and attribution can be traced back to this incident, where my own presentation of an academic self was appropriated and remixed from fumbler to quipster. I’ve also been struck throughout my teaching career by the seeming disconnect between the stringent academic rules for referencing and citation and the everyday strategies of appropriation that are inherent to popular remix culture. I’m taking the opportunity in this paper to reflect on the practice of scholarly quotation itself, before examining some recent creative provocations to the academic ‘author’ situated inventively at the crossroad between scholarly convention and remix culture. Early in his own teaching career at Oxford University Lewis Carroll, wrote to his younger siblings describing the importance of maintaining his dignity as a new tutor. He outlines the distance his college was at pains to maintain between teachers and their students: “otherwise, you know, they are not humble enough”. Carroll playfully describes the set-up of a tutor sitting at his desk, behind closed doors and without access to today’s communication technologies, relying on a series of college ‘scouts’ to convey information down corridors and staircases to the confused student waiting for instruction below. The lectures, according to Carroll, went something like this: Tutor: What is twice three?Scout: What’s a rice-tree?Sub-scout: When is ice free?Sub-sub-scout: What’s a nice fee??Student (timidly): Half a guinea.Sub-sub-scout: Can’t forge any!Sub-scout: Ho for jinny!Scout: Don’t be a ninny!Tutor (looking offended, tries another question): Divide a hundred by twelve.Scout: Provide wonderful bells!Sub-scout: Go ride under it yourself!Sub-sub-scout: Deride the dunderhead elf!Pupil (surprised): What do you mean?Sub-sub-scout: Doings between!Sub-scout: Blue is the screen!Scout: Soup tureen! And so the lecture proceeds… Carroll’s parody of academic miscommunication and misquoting was reproduced by Pierre Bourdieu at the opening of the book Academic Discourse to illustrate the failures of pedagogical practice in higher education in the mid 1960s, when he found scholarly language relied on codes that were “destined to dazzle rather than to enlighten” (3). Bourdieu et al found that students struggled to reproduce appropriately scholarly discourse and were constrained to write in a badly understood and poorly mastered language, finding reassurance in what he called a ‘rhetoric of despair’: “through a kind of incantatory or sacrificial rite, they try to call up and reinstate the tropes, schemas or words which to them distinguish professorial language” (4). The result was bad writing that karaoke-ed a pseudo academic discourse, accompanied by a habit of thoughtlessly patching together other peoples’ words and phrases. Such sloppy quoting activities of course invite the scholarly taboo of plagiarism or its extreme opposite, hypercitation. Elsewhere, Jacques Derrida developed an important theory of citationality and language, but it is intriguing to note his own considerable unease with conventional acknowledgement practices, of quoting and being quoted: I would like to spare you the tedium, the waste of time, and the subservience that always accompany the classic pedagogical procedures of forging links, referring back to past premises or arguments, justifying one’s own trajectory, method, system, and more or less skilful transitions, re-establishing continuity, and so on. These are but some of the imperatives of classical pedagogy with which, to be sure, one can never break once and for all. Yet, if you were to submit to them rigorously, they would very soon reduce you to silence, tautology and tiresome repetition. (The Ear of the Other, 3) This weariness with a procedural hyper-focus on referencing conventions underlines Derrida’s disquiet with the self-protecting, self-promoting and self-justifying practices that bolster pedagogical tradition and yet inhibit real scholarly work, and risk silencing the authorial voice. Today, remix offers new life to quoting. Media theorist Lev Manovich resisted the notion that the practice of ‘quotation’ was the historical precedent for remixing, aligning it instead to the authorship practice of music ‘sampling’ made possible by new electronic and digital technology. Eduardo Navas agrees that sampling is the key element that makes the act of remixing possible, but links its principles not just to music but to the preoccupation with reading and writing as an extended cultural practice beyond textual writing onto all forms of media (8). A crucial point for Navas is that while remix appropriates and reworks its source material, it relies on the practice of citation to work properly: too close to the original means the remix risks being dismissed as derivative, but at the same time the remixer can’t rely on a source always being known or recognised (7). In other words, the conceptual strategies of remix must rely on some form of referencing or citation of the ideas it sources. It is inarguable that advances in digital technologies have expanded the capacity of scholars to search, cut/copy & paste, collate and link to their research sources. New theoretical and methodological frameworks are being developed to take account of these changing conditions of academic work. For instance, Annette Markham proposes a ‘remix methodology’ for qualitative enquiry, arguing that remix is a powerful tool for thinking about an interpretive and adaptive research practice that takes account of the complexity of contemporary cultural contexts. In a similar vein Cheré Harden Blair has used remix as a theoretical framework to grapple with the issue of plagiarism in the postmodern classroom. If, following Roland Barthes, all writing is “a tissue of quotations drawn from innumerable centers of culture” (146), and if all writing is therefore rewriting, then punishing students for plagiarism becomes problematic. Blair argues that since scholarly writing has become a mosaic of digital and textual productions, then teaching must follow suit, especially since teaching, as a dynamic, shifting and intertextual enterprise, is more suited to the digital revolution than traditional, fixed writing (175). She proposes that teachers provide a space in which remixing, appropriation, patch-writing and even piracy could be allowable, even useful and productive: “a space in which the line is blurry not because students are ignorant of what is right or appropriate, or because digital text somehow contains inherent temptations to plagiarise, but because digital media has, in fact, blurred the line” (183). The clashes between remix and scholarly rules of attribution are directly addressed by the pedagogical provocations of conceptual poet Kenneth Goldsmith, who has developed a program of ‘uncreative writing’ at the University of Pennsylvania, where, among other plagiaristic tasks, he forces students to transcribe whole passages from books, or to download essays from online paper mills and defend them as their own, marking down students who show a ‘shred of originality’. In his own writing and performances, which depend almost exclusively on strategies of appropriation, plagiarism and recontextualisation of often banal sources like traffic reports, Goldsmith says that he is working to de-familiarise normative structures of language. For Goldsmith, reframing language into another context allows it to become new again, so that “we don’t need the new sentence, the old sentence re-framed is good enough”. Goldsmith argues for the role of the contemporary academic and creative writer as an intelligent agent in the management of masses of information. He describes his changing perception of his own work: “I used to be an artist, then I became a poet; then a writer. Now when asked, I simply refer to myself as a word processor” (Perloff 147). For him, what is of interest to the twenty-first century is not so much the quote that ‘rips’ or tears words out of their original context, but finding ways to make new ‘wholes’ out of the accumulations, filterings and remixing of existing words and sentences. Another extraordinary example of the blurring of lines between text, author and the discursive peculiarities of digital media can be found in Jonathan Lethem’s essay ‘An Ecstasy of Influence: A Plagiarism’, which first appeared in Harpers Magazine in 2007. While this essay is about the topic of plagiarism, it is itself plagiarized, composed of quotes that have been woven seamlessly together into a composite whole. Although Lethem provides a key at the end with a list of his sources, he has removed in-text citations and quotation marks, even while directly discussing the practices of mis-quotation and mis-attribution throughout the essay itself. Towards the end of the essay can be found the paragraph: Any text is woven entirely with citations, references, echoes, cultural languages, which cut across it through and through in a vast stereophony. The citations that go to make up a text are anonymous, untraceable, and yet already read; they are quotations without inverted commas. The kernel, the soul — let us go further and say the substance, the bulk, the actual and valuable material of all human utterances — is plagiarism. …By necessity, by proclivity, and by delight, we all quote. Neurological study has lately shown that memory, imagination, and consciousness itself is stitched, quilted, pastiched. If we cut-and-paste ourselves, might we not forgive it of our artworks? (68) Overall, Lethem’s self-reflexive pro-plagiarism essay reminds the reader not only of how ideas in literature have been continuously recycled, quoted, appropriated and remixed, but of how open-source cultures are vital for the creation of new works. Lethem (re)produces rather than authors a body of text that is haunted by ever present/absent quotation marks and references. Zara Dinnen suggests that Lethem’s essay, like almost all contemporary texts produced on a computer, is a provocation to once again re-theorise the notion of the author, as not a rigid point of origin but instead “a relay of alternative and composite modes of production” (212), extending Manovich’s notion of the role of author in the digital age of being perhaps closest to that of a DJ. But Lethem’s essay, however surprising and masterfully intertextual, was produced and disseminated as a linear ‘static’ text. On the other hand, Mark Amerika’s remixthebook project first started out as a series of theoretical performances on his Professor VJ blog and was then extended into a multitrack composition of “applied remixology” that features sampled phrases and ideas from a range of artistic, literary, musical, theoretical and philosophical sources. Wanting his project to be received not as a book but as a hybridised publication and performance art project that appears in both print and digital forms, remixthebook was simultaneously published in a prestigious university press and a website that works as an online hub and teaching tool to test out the theories. In this way, Amerika expands the concept of writing to include multimedia forms composed for both networked environments and also experiments with what he terms “creative risk management” where the artist, also a scholar and a teacher, is “willing to drop all intellectual pretence and turn his theoretical agenda into (a) speculative play” (xi). He explains his process halfway through the print book: Other times we who create innovative works of remix artare fully self-conscious of the rival lineagewe spring forth fromand knowingly take on other remixological styles just to seewhat happens when we move insideother writers’ bodies (of work)This is when remixologically inhabitingthe spirit of another writer’s stylistic tendenciesor at least the subconsciously imagined writerly gesturesthat illuminate his or her live spontaneous performancefeels more like an embodied praxis In some ways this all seems so obvious to me:I mean what is a writer anyway buta simultaneous and continuous fusion ofremixologically inhabited bodies of work? (109) Amerika mashes up the jargon of academic writing with avant-pop forms of digital rhetoric in order to “move inside other writers’ bodies (of work)” in order to test out his theoretical agenda in an “embodied praxis” at the same time that he shakes up the way that contemporary scholarship itself is performed. The remixthebook project inevitably recalls one of the great early-twentieth century plays with scholarly quotation, Walter Benjamin’s The Arcades Project. Instead of avoiding conventional quoting, footnoting and referencing, these are the very fabric of Benjamin’s sprawling project, composed entirely of quotes drawn from nineteenth century philosophy and literature. This early scholarly ‘remixing’ project has been described as bewildering and oppressive, but which others still find relevant and inspirational. Marjorie Perloff, for instance, finds the ‘passages’ in Benjamin’s arcades have “become the digital passages we take through websites and YouTube videos, navigating our way from one Google link to another and over the bridges provided by our favourite search engines and web pages" (49). For Benjamin, the process of collecting quotes was addictive. Hannah Arendt describes his habit of carrying little black notebooks in which "he tirelessly entered in the form of quotations what daily living and reading netted him in the way of 'pearls' and 'coral'. On occasion he read from them aloud, showed them around like items from a choice and precious collection" (45). A similar practice of everyday hypercitation can be found in the contemporary Australian performance artist Danielle Freakley’s project, The Quote Generator. For what was intended in 2006 to be a three year project, but which is still ongoing, Freakley takes the delirious pleasure of finding and fitting the perfect quote to fit an occasion to an extreme. Unlike Benjamin, Freakley didn’t collect and collate quotes, she then relied on them to navigate her way through her daily interactions. As The Quote Generator, Freakley spoke only in quotations drawn from film, literature and popular culture, immediately following each quote with its correct in-text reference, familiar to academic writers as the ‘author/date’ citation system. The awkwardness and seeming artificiality of even short exchanges with someone who responds only in quotes might be bewildering enough, but the inclusion of the citation after the quote maddeningly interrupts and, at the same time, adds another metalevel to a conversation where even the simple platitude ‘thank you’ might be followed by an attribution to ‘Deep Throat 1972’. Longer exchanges become increasingly overwhelming, as Freakley’s piling of quote on quote, and sometimes repeating quotes, demands an attentive listener, as is evident in a 2008 interview with Andrew Denton on the ABC’s Enough Rope: Andrew Denton’s Enough Rope (2008) Denton: So, you’ve been doing this for three years??Freakley: Yes, Optus 1991Denton: How do people respond to you speaking in such an unnatural way?Freakley: It changes, David Bowie 1991. On the streets AKA Breakdance 1984, most people that I know think that I am crazy, Billy Thorpe 1972, a nigger like me is going insane, Cyprus Hill 1979, making as much sense as a Japanese instruction manual, Red Dwarf 1993. Video documentation of Freakley’s encounters with unsuspecting members of the public reveal how frustrating the inclusion of ‘spoken’ references can be, let alone how taken aback people are on realising they never get Freakley’s own words, but are instead receiving layers of quotations. The frustration can quickly turn hostile (Denton at one point tells Freakley to “shut up”) or can prove contaminatory, as people attempt to match or one-up her quotes (see Cook's interview 8). Apparently, when Freakley continued her commitment to the performance at a Perth Centerlink, the staff sent her to a psychiatrist and she was diagnosed with an obsessive-compulsive disorder, then prescribed medication (Schwartzkoff 4). While Benjamin's The Arcades Project invites the reader to scroll through its pages as a kind of textual flaneur, Freakley herself becomes a walking and talking word processor, extending the possibilities of Amerika’s “embodied praxis” in an inescapable remix of other people’s words and phrases. At the beginning of the project, Freakley organised a card collection of quotes categorised into possible conversation topics, and devised a ‘harness’ for easy access. Image: Danielle Freakley’s The Quote Generator harness Eventually, however, Freakley was able to rely on her own memory of an astounding number of quotations, becoming a “near mechanical vessel” (Gottlieb 2009), or, according to her own manifesto, a “regurgitation library to live by”: The Quote Generator reads, and researches as it speaks. The Quote Generator is both the reader and composer/editor. The Quote Generator is not an actor spouting lines on a stage. The Quote Generator assimilates others lines into everyday social life … The Quote Generator, tries to find its own voice, an understanding through throbbing collations of others, constantly gluttonously referencing. Much academic writing quotes/references ravenously. New things cannot be said without constant referral, acknowledgement to what has been already, the intricate detective work in the barking of the academic dog. By her unrelenting appropriation and regurgitating of quotations, Freakley uses sampling as a technique for an extended performance that draws attention to the remixology of everyday life. By replacing conversation with a hyper-insistence on quotes and their simultaneous citation, she draws attention to the artificiality and inescapability of the ‘codes’ that make up not just ordinary conversations, but also conventional academic discourse, what she calls the “barking of the academic dog”. Freakley’s performance has pushed the scholarly conventions of quoting and referencing to their furthest extreme, in what has been described by Daine Singer as a kind of “endurance art” that relies, in large part, on an antagonistic relationship to its audience. In his now legendary 1969 “Double Session” seminar, Derrida, too, experimented with the pedagogical performance of the (re)producing author, teasing his earnest academic audience. It is reported that the seminar began in a dimly lit room lined with blackboards covered with quotations that Derrida, for a while, simply “pointed to in silence” (177). In this seminar, Derrida put into play notions that can be understood to inform remix practices just as much as they do deconstruction: the author, originality, mimesis, imitation, representation and reference. Scholarly conventions, perhaps particularly the quotation practices that insist on the circulation of rigid codes of attribution, and are defended by increasingly out-of-date understandings of contemporary research, writing and teaching practices, are ripe to be played with. Remix offers an expanded discursive framework to do this in creative and entertaining ways. References Amerika, Mark. remixthebook. Minneapolis: University of Minnesota Press, 2011. 29 July 2013 http://www.remixthebook.com/. Arendt, Hannah. “Walter Benjamin: 1892-1940.” In Illuminations. New York, NY: Shocken, 1969: 1-55. Barthes, Roland. “The Death of the Author.” Image Music Text. Trans Stephen Heath. New York: Hill and Wang, 1977: 142-148. Benjamin, Walter. The Arcades Project. Ed. Rolf Tiedemann, trans. Howard Eiland & Kevin McLaughlin. Cambridge, MA: Harvard University Press, 1999. Blaire, Cheré Harden. “Panic and Plagiarism: Authorship and Academic Dishonesty in a Remix Culture.” Media Tropes 2.1 (2009): 159-192. Bourdieu, Pierre, Jean-Claude Passeron, and Monique de Saint Martin. Academic Discourse: Linguistic Misunderstanding and Professorial Power. Trans. Richard Teese. Stanford California: Stanford University Press, 1965. Carroll, Lewis (Charles Dodgson). “Letter to Henrietta and Edwin Dodgson 31 Jan 1855”. 15 July 2013 http://en.wikiquote.org/wiki/Letters_of_Lewis_Carroll. Cook, Richard. “Don’t Quote Me on That.” Time Out Sydney (2008): 8. http://rgcooke.wordpress.com/2008/02/13/interview-danielle-freakley.Denton, Andrew. “Interview: The Quote Generator.” Enough Rope. 29 Feb. 2008. ABC TV. 15 July 2013 http://www.youtube.com/watch?v=AsrGvwXsenE. Derrida, Jacques. Spurs, Nietzsche’s Styles. Trans. Barbara Harlow. London: University of Chicago Press, 1978. Derrida, Jacques. The Ear of the Other: Otobiography, Text, Transference. Trans Peggy Kampf. New York: Shocken Books, 1985. Derrida, Jacques. “The Double Session”. Dissemination. Trans Alan Bass, Chicago, University of Chicago Press, 1981. Dinnen, Zara. "In the Mix: The Potential Convergence of Literature and New Media in Jonathan Letham's 'The Ecstasy of Influence'". Journal of Narrative Theory 42.2 (2012). Freakley, Danielle. The Quote Generator. 2006 to present. 10 July 2013 http://www.thequotegenerator.com/. Goldsmith, Kenneth. Uncreative Writing. New York: University of Colombia Press 2011. Gottlieb, Benjamin. "You Shall Worship No Other Artist God." Art & Culture (2009). 15 July 2013 http://www.artandculture.com/feature/999. Lethem, Jonathan. “The Ecstasy of Influence: A Plagiarism.” Harper’s Magazine, Feb. 2007: 59-71. http://harpers.org/archive/2007/02/the-ecstasy-of-influence/. Manovich, Lev. "What Comes after Remix?" 2007. 15 July 2013 http://manovich.net/LNM/index.html. Markham, Annette. “Remix Methodology.” 2013. 9 July 2013 http://www.markham.internetinquiry.org/category/remix/.Morris, Simon (dir.). Sucking on Words: Kenneth Goldsmith. 2007. http://www.ubu.com/film/goldsmith_sucking.html.Navas, Eduardo. Remix Theory: The Aesthetics of Sampling. New York: Springer Wein, 2012. Perloff, Marjorie. Unoriginal Genius: Poetry by Other Means in the New Century. Chicago: University of Chicago Press, 2010. Schwartzkoff, Louise. “Art Forms Spring into Life at Prima Vera.” Sydney Morning Herald 19 Sep. 2008: Entertainment, 4. http://www.smh.com.au/news/entertainment/arts/art-forms-spring-into-life-at-primavera/2008/09/18/1221331045404.html.Singer, Daine (cur.). “Pains in the Artists: Endurance and Suffering.” Blindside Exhibition. 2007. 2 June 2013 http://www.blindside.org.au/2007/pains-in-the-artists.shtml.

While digital remix practices in music have been researched extensively in the last few years (see recently Jansen; Navas; Pinch and Athanasiades; Väkevä), the specific challenges and skills that are central to remixing are still not well understood (Borschke 90). As writers like Demers, Lessig, and Théberge argue, the fact that remixers rework already existing songs rather than building a track from scratch, often means they are perceived as musical thieves or parasites rather than creative artists. Moreover, as writers like Borschke and Rodgers argue, because remixers make use of digital audio workstations to produce and rework their sounds, their practices tend to be seen as highly automated, offering relatively little by way of musical and creative challenges, especially compared to more traditional (electro)acoustic forms of music-making. An underestimation of skill is problematic, however, because, as my own empirical research shows, creative skills and challenges are important to the way digital remixers themselves experience and value their practice. Drawing from virtual ethnographic research within the online remix communities of Indaba Music, this article argues that, not despite but because remixers start from already existing songs and because they rework these songs with the help of digital audio workstations, a particular set of creative abilities becomes foregrounded, namely: ‘fluency’ and ‘flexibility’ (Gouzouasis; Guilford, “Creativity Research”, Intelligence, “Measurement”). Fluency, the way the concept is used here, refers to the ability to respond to, and produce ideas for, a wide variety of musical source materials, quickly and easily. Flexibility refers to the ability to understand, and adapt these approaches to, the ‘musical affordances’ (Gibson; Windsor and De Bézenac) of the original song, that is: the different musical possibilities and constraints the source material provides. For remixers, fluency and flexibility are not only needed in order to be able to participate in these remix contests, they are also central to the way they value and evaluate each other’s work.Researching Online Remix ContestsAs part of a larger research project on online music practices, between 2011 and 2012, I spent eighteen months conducting virtual ethnographic research (Hine) within several remix competitions hosted on online music community Indaba Music. Indaba is not the only online community where creative works can be exchanged and discussed. For this research, however, I have chosen to focus on Indaba because, other than in a remix community like ccMixter for example, competitions are very much central to the Indaba community, thus making it a good place to investigate negotiations of skills and techniques. Also, unlike a community like ACIDplanet which is tied explicitly to Sony’s audio software program ACID Pro, Indaba is not connected to any particular audio workstation, thus providing an insight into a relatively broad variety of remix practices. During my research on Indaba, I monitored discussions between participants, listened to work that had been uploaded, and talked to remixers via personal messaging. In addition to my daily monitoring, I also talked to 21 remixers more extensively through Skype interviews. These interviews were semi-structured, and lasted between 50 minutes and 3.5 hours, sometimes spread over multiple sessions. During these interviews, remixers not only talked about their practices, they also shared work in progress with me by showing their remixes on screen or by directing a webcam to their instruments while they played, recorded, or mixed their material. All the remixers who participated in these interviews granted me permission to quote them and to use the original nicknames or personal names they use on Indaba in this publication. Besides the online observations and interviews, I also participated in three remix competitions myself, in order to gain a better understanding of what it means to be part of a remix community and to see what kind of challenges and abilities are involved. In the online remix contests of Indaba, professional artists invite remixers to rework a song and share and discuss these works within the community. For the purpose of these contests, artists provide separate audio files (so-called ‘stems’) for different musical elements such as voice, drums, bass, or guitar. Remixers can produce their tracks by rearranging these stems, or they can add new audio material, such as beats, chords, and rhythms, as long as this material is not copyrighted. Remixers generally comply with this rule. During the course of a contest, remixers upload their work to the website and discuss and share the results with other remixers. A typical remix contest draws between 200 or 300 participants. These participants are mostly amateur musicians or semi-professionals in the sense that they do not make a living with their creative practices, but rather participate in these contests as a hobby. A remix contest normally lasts for four or five weeks. After that time, the hosting artist chooses a winner and the remixers move on to another contest, hosted by a different artist and featuring a new song, sometimes from a completely different musical genre. It is partly because of this move from contest to contest that fluency and flexibility can be understood as central abilities within these remix practices. Fluency and flexibility are concepts adopted from the work of Joy Paul Guilford (“Creativity Research”, Intelligence, “Measurement”) who developed them in his creativity research from the 1950s onwards. For Guilford, fluency and flexibility are part of divergent-production abilities, those abilities we need in order to be able to deal with open questions or tasks, in which multiple solutions or answers are possible, in a quick and effective way. Within creativity research, divergent-production abilities have mainly been measured and evaluated quantitatively. In music related studies, for example, researchers have scored and assessed so-called fluency and flexibility factors in the music practices of children and adults and compared them to other creative abilities (Webster). For the purpose of this article, however, I do not wish to approach fluency and flexibility quantitatively. Rather, I would like to show that in online remix practices, fluency and flexibility, as creative abilities, become very much foregrounded. Gouzouasis already alludes to this possibility, pointing out that, in digital music practices, fluency might be more important than the ability to read and write traditional music notation. Gouzouasis’ argument, however, does not refer to a specific empirical case. Also, it does not reflect on how digital musicians themselves consider these abilities central to their own practices. Looking at online remix competitions, however, this last aspect becomes clear.FluencyFor Guilford, ‘fluency’ can be understood as the ability to produce a response, or multiple responses, to an open question or task quickly and easily (“Creativity Research”, Intelligence, “Measurement”). It is about making associations, finding different uses or purposes for certain source materials, and combining separate elements into organised phrases and patterns. Based on this definition, it is not difficult to see a link with remix competitions, in which remixers are asked to come up with a musical response to a given song within a limited time frame. Online remix contests are essentially a form of working on demand. It is the artist who invites the audience to remix a song. It is also the artist who decides which song can be remixed and which audio files can be used for that mix. Remixers who participate in these contests are usually not fans of these artists. Often they do not even know the song before they enter a competition. Instead, they travel from contest to contest, taking on many different remix opportunities. For every competition, then, remixers have to first familiarise themselves with the source material, and then try to come up with a creative response that is not only different from the original, but also different from all the other remixes that have already been uploaded. Remixers do not consider this a problem, but embrace it as a challenge. As Moritz Breit, one of the remixers, explained to me: “I like remixing [on Indaba] because it’s a challenge. You get something and have to make something different out of it, and later people will tell you how you did.” Or as hüpersonique put it: “It’s really a challenge. You hear a song and you say: ‘OK, it’s not my taste. But it’s good quality and if I could do something in my genre that would be very interesting’.” If these remixers consider the competitions to be a challenge, it is mainly because these contests provide an exercise of call and response. On Indaba, remixers apply different tempos, timbres, and sounds to a song, they upload and discuss work in progress, and they evaluate and compare the results by commenting on each other’s work. While remixers officially only need to develop one response, in practice they tend to create multiple ideas which they either combine in a single eclectic mix or otherwise include in different tracks which they upload separately. Remixers even have their own techniques in order to stimulate a variety of responses. Some remixers, for example, told me how they expose themselves to a large number of different songs and artists before they start remixing, in order to pick up different ideas and sounds. Others told me how they prefer not to listen to the original song, as it might diminish their ability to move away from it. Instead, they download only one or two of the original stems (usually the vocals) and start improvising around those sounds, without ever having heard the original song as a whole. As Ola Melander, one of the remixers, explained: “I never listen to it. I just load [the vocals] and the drum tracks. [....] I have to do it [in] my own style. [….] I don’t want that the original influences it, I want to make the chords myself, and figure out what it will sound like.” Or as Stretched Mind explained to me: “I listen to the vocal stem, only that, so no synths, no guitars, just pure vocal stems, nothing else. And I figure out what could fit with that.” On Indaba, being able to respond to, and associate around, the original track is considered to be more important than what Guilford calls ‘elaboration’ (“Measurement” 159). For Guilford, elaboration is the ability to turn a rough outline into a detailed and finished whole. It is basically a form of fine tuning. In the case of remixing, this fine tuning is called ‘mastering’ and it is all about getting exactly the right timbre, dynamics, volume, and balance in a track in order to create a ‘perfect’ sounding mix. On Indaba, only a select group of remixers is actually interested in such a professional form of elaboration. As Moritz Breit told me: “It’s not that you have like a huge bunch of perfectly mastered submissions. So nobody is really expecting that from you.” Indeed, in the comment section remixers tend to say less about audio fidelity than about how they like a certain approach. Even when a critical remark is made about the audio quality of a mix, these criticisms are often preceded or followed by encouraging comments which praise the idea behind the track or applaud the way a remixer has brought the song into a new direction. In short, the comments are often directed more towards fluency than towards elaboration, showing that for many of these remixers the idea of a response, any response, is more important than creating a professional or sellable track.Being able to produce a musical response is also more important on Indaba than having specific musical instrument skills. Most remixers work with digital audio workstations, such as Cubase, Logic Pro, and Pro Tools. These software programs make it possible to manipulate and produce sounds in ways that may include musical instruments, but do not necessarily involve them. As Hugill writes, with these programs “a sound source could be a recording, a live sound, an acoustic instrument, a synthesizer, the human body, etc. In fact, any sounding object can be a sound source” (128). As such, remix competitions tend to draw a large variety of different participants, with a wide range of musical backgrounds and instrument skills. Some remixers on Indaba create their remixes by making use of sample libraries and loops. Others, who have the ability, also add sounds with instruments such as drums, guitars, or violins, which they record with microphones or, in the case of electronic or digital instruments, plug directly into their personal computers. Remixers who are confident about their instrument skills improvise around the original tracks in real-time, while less confident players record short segments, which they then alter and correct afterwards with their audio programs. Within the logic of these digital audio workstation practices, these differences are not significant, as all audio input merely functions as a starting point, needing to be adjusted, layered, combined, and recombined afterwards in order to create the final mix. For the contestants themselves these differences are also not so significant, as contestants are still, in their own ways, involved in the challenge of responding to and associating around the original stems, regardless of the specific techniques or instruments used. The fact that remixers are open to different methods and techniques does not mean, however, that every submission is considered to be as valid as any other. Remixers do have strong opinions about what is a good remix and what is not. Looking at the comments contestants give on each other’s work, and the way they talk about their practices during interviews, it becomes clear that remixers find it important that a remix somehow fits the original source material. As hüpersonique explained: “A lot of [remixes] don’t really match the vocals (…) and then it sounds not that good.” From this perspective, remixers not only need to be fluent, they also need to be flexible towards their source material. FlexibilityFor Guilford, flexibility is the readiness to change direction or method (Intelligence, “Measurement”). It is, as Arnold writes, “facilitated by having a great many tricks in your bag, knowing lots of techniques, [and] having broad experience” (129). In music, flexibility can be understood as the ability to switch easily between different sounds, rhythms, and approaches, in order to achieve a desired musical effect. Guilford distinguishes between two forms of flexibility: ‘spontaneous flexibility’, when a subject chooses himself to switch between different approaches, and ‘adaptive flexibility’ when a switch in approach is necessary or preferred to fit a certain task (“Measurement” 158). While both forms of flexibility can be found on Indaba, adaptive flexibility is seen as a particularly important criterion of being a skilled remixer, as it shows that a remixer is able to understand, and react to, the musical affordances of the original track. The idea that music has affordances is not new. As Windsor and De Bézenac argue, building on Gibson’s original theory of affordances, even in the most free expressive jazz improvisations, there are certain cues that make us understand if a solo is “going with” or “going against” the shared context, and it is these cues that guide a musician through an improvisation (111). The same is true for remix practices. As Regelski argues, any form of music rearranging or appropriation “requires considerable understanding of music’s properties – and the different affordances of those properties” (38). Even when remixers only use one of the original stems, such as the vocals, they need to take into account, for example, the tempo of the song, the intensity of the voice, the chord patterns on which the vocals are based, and the mood or feeling the singer is trying to convey. A skilled remixer, then, builds his or her ideas on top of that so that they strengthen and not diminish these properties. On Indaba, ironic or humoristic remixers too are expected to consider at least some of the basic features of the original track, such as its key or its particular form of musical phrasing. Remixes in which these features are purposely ignored are often not appreciated by the community. As Tim Toz, one of the remixers, explained: “There’s only so much you can do, I think, in the context of a melody plus the way the song was originally sung. […] I hear guys trying to bend certain vocal cadences into other kinds of grooves, and it somehow doesn’t work […], it [begins] to sound unnatural.” On Indaba, remixers complement each other when they find the right approach to the original track. They also critique each other when an approach does not fit the original song, when it does not go along with the ‘feel’ of the track, or when it seem to be out of key or sync with the vocals. By discussing each other’s tracks, remixers not only collectively explore the limits and possibilities of a song, they also implicitly discuss their abilities to hear those possibilities and be able to act on them appropriately. What remixers need in order to be able to do this is what Hugill calls, ‘aural awareness’ (15): the ability to understand how sound works, both in a broad and in-depth way. While aural awareness is important for any musician, remixers are especially reliant on it, as their work is centred around the manipulation and extension of already existing sounds (Hugill). In order to be able to move from contest to contest, remixers need to have a broad understanding of how different musical styles work and the kind of possibilities they afford. At the same time they also need to know, at a more granular level, how sounds interact and how small alterations of chords, timbres, or rhythms can change the overall feel of a track. ConclusionRemix competitions draw participants with a wide variety of musical backgrounds who make use of a broad range of instruments and techniques. The reason such a diverse group is able to participate and compete together is not because these practices do not require musical skill, but rather because remix competitions draw on particular kinds of abilities which are not directly linked to specific methods or techniques. While it might not be necessary to produce a flawless track or to be able to play musical material in real-time, remixers do need to be able to respond to a wide variety of source materials, in a quick and effective way. Also, while it might not be necessary for remixers to be able to produce a song from scratch, they do need to be able to understand, and adapt to, the musical affordances different songs provide. In order to be able to move from contest to contest, as true musical chameleons, remixers need a broad and in-depth understanding of how sound works in different musical contexts and how particular musical responses can be achieved. As soon as remixers upload a track, it is mainly these abilities that will be judged, discussed, and evaluated by the community. In this way fluency and flexibility are not only central abilities in order to be able to participate in these remix competitions, they are also important yardsticks by which remixers measure and evaluate both their own work and the achievements of their peers.AcknowledgementsThe author would like to thank Renée van de Vall, Karin Wenz, and Dennis Kersten for their comments on early drafts of this article. Parts of this research have, in an earlier stage, been presented during the IASPM International Conference for the Study of Popular Music in Gijon, Spain 2013. 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