Academic literature on the topic 'Emblematic flowers'

Abstract Robert Schumann's Blumenstück, op. 19, a short piano piece dating from 1839, is generally not included among the composer's more poetically inspired or formally adventurous pieces. Thanks in part to Schumann's own disparaging remarks about the piece, Blumenstück, like the stylistically similar Arabeske, op. 18, has been viewed as a fairly straightforward effort to appeal to amateur consumers—especially women consumers—of domestic piano music. Rather than recuperate Schumann's piece through a revelation of its structural achievements, this article links the piece's mixed aesthetic status to the similar standing of flowers (and the genre of flower painting to which Schumann's title alludes) in early-nineteenth-century German culture. Emblematic of women and the expression of conventional sentiments, flowers nonetheless constituted a remarkably evocative symbol in Romantic literature. Sentimental and Romantic discourses of the flower converged in the trope of Blumensprache (the language of flowers), an idea that found expression in both popular manuals cataloguing the meanings of flowers and the more esoteric environments of Schumann's criticism, E. T. A. Hoffmann's tales, and Heinrich Heine's poetry. In each of these venues, flowers served as imaginary conduits joining mundane and transcendent realms. Drawing on the work of Friedrich Kittler, I argue that Schumann's Blumenstück, with its conflicting imperatives of pleasure and instruction, congenial melody and motivic intertwining, conflates aesthetic and reception-based categories in a related manner and, as a result, undermines traditional means of generic classification.

Roman tombs were often beautified by commemorative gardens. These loci were the result of a synthesis of religious attitudes towards burials and gardens, and they signified the ancient connection between commemoration and land ownership. These gardens were often termed “farms”, “orchards” or “estates” in epitaphs implying that the cultivated space was as important to the commemorators as the tombs were. The presence of these gardens around tombs offered a pleasant locale for an eternal dwelling, but more importantly they provided a productive garden to help pay for its upkeep. Roman necropoleis were not lonely places, but landscapes filled with exuberant plantings of flowers, fruit trees and vines emblematic of the ideal Roman locus amoenus.

Plant phenology is concerned with the timing of recurring biological events. Though phenology has traditionally been studied using intensive surveys of a local flora, results from such surveys are difficult to generalize to broader spatial scales. In this study, contrastingly, we assembled a continental-scale dataset of herbarium specimens for the emblematic genus of Neotropical pioneer trees, Cecropia , and applied Fourier spectral and cospectral analyses to investigate the reproductive phenology of 35 species. We detected significant annual, sub-annual and continuous patterns, and discuss the variation in patterns within and among climatic regions. Although previous studies have suggested that pioneer species generally produce flowers continually throughout the year, we found that at least one third of Cecropia species are characterized by clear annual flowering behaviour. We further investigated the relationships between phenology and climate seasonality, showing strong associations between phenology and seasonal variations in precipitation and temperature. We also verified our results against field survey data gathered from the literature. Our findings indicate that herbarium material is a reliable resource for use in the investigation of large-scale patterns in plant phenology, offering a promising complement to local intensive field studies.

Read through Lacan and such new Lacanians as Slavoj Žižek and Juliet Flower MacCannell, Josephine Hart's Damage (1991) illustrates how an ethics of jouissance founds a tragic action emblematic of postmodern narcissism. New Lacanians stress drive, jouissance, the real, the primordial father, and the femme fatale. Typically, they find these elements in film noir. Transforming noir into love story, Damage foregrounds an unnamed narrator whose sadomasochistic affair with his son's fiancée precipitates the son's death. Beginning with the narrator in the guise of the traditional oedipal father, the affair unveils the fiancée as a femme fatale who constitutes the narrator as what MacCannell would call the destructive, narcissistic brother become primordial father. Enacting an ethics of jouissance because the narrator will not abandon his drive to enjoyment beyond the pleasure principle, primordial father and femme fatale participate in a narrative that must be called Lacanian tragedy.

Dutch still-life is a distinctive cultural phenomenon of the 17th century. Collecting of rarities, curiosities, plants, paintings, sculptures and many other rare things was characteristic for that period. Seashells which were brought from the exotic countries attracted the attention and love of collectors and artists. J. Hoefnagel was one of the first who took an interest to seashells in the emblems. In the early Dutch flower still-life shells were found occasionally but from the beginning of the first quarter of the 17th century artists started to add these graceful creations almost into all compositions with flower bouquets and fruits. New type of still-life with seashells appeared abundantly in painting of Balthasar van der Ast, Jan Davidsz de Heеm, Abraham Beyeren, Willem Kalf and others. While the naturalism in still-life painting brought to the maximum, there was a problem of veracity in depicting shells in the engravings, for example, in Rembrandt’s work. This problem was eventually solved only in the second half of the 17th century, so engravings and zoological illustrations began to show the curl of the shells in its correct direction, exactly clockwise. This research poses problems of the appearance of shells as collectibles and Dutch still-life’ motifs, visual traditions and shells’ classification in the paintings. The article is relevant with interdisciplinary method; some mollusks zoological names with indication of their origin place are given; the cultural and historical context is generalized; the stylistic analysis takes into account the emblematics’ traditions.

Background. The mindset of people who inhabit one or the other country determines the process of formation and fixation of intonational vocabulary, which reflects and in the music culture, including songs. In such a case, phonetic and syntax particular qualities of verbal language intersect with national musical language. The proof of that is a vocal art, whose essential parameters (from intonational scale to the aspects of voice staging) present originality of national worldview. However, in recent decades, the preservation of the uniqueness of the artistic expression of peoples and ethnic groups is under threat. Culture integration increasingly unifies musical thinking of representatives of different countries. The striking instance of this is an art of modern China. Here, vocalists work either based on national traditions of singing, or developing the achievements of leading European schools. Moreover, choice, made once, determines a singer’s creative fate – his technique and repertoire. As a result, there is a gradual transformation of the entire system of musical culture in China, a rethinking of the basic intonation complexes, including those that embody the national image of the world. These facts define the purpose of given research – uncovering specificity of Motherland image presentation in modern China vocalists’ interpretation. The methodology of the research is determined by its objective, it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. Themes related to Motherland image are an integral part of China musical art. In folk art, these are songs that sing about China, about people living in this country, about love for the Motherland. Authors often recourse to allegories using synonymic emblematic row: dragon, red color, Yin and Yan signs, Beijing opera. These kinds of songs are gradually beginning to be accepted as the symbol of the country, where they were created. Exactly this way happened with one of the most famous in the world Chinese folksong «Jasmine Flower», which words for the first time were written down in the time of Ming dynasty. The version of «Jasmine Flower», which nowadays is the most times performed, is credited with composer He Fang. He Fang made some changes both in lyrics and in verbal text of the folksong. One of the greatest interpreters of «Jasmine Flower» is Song Zuying singing in the folk manner. It is revealing that song «Jasmine Flower» at her concert sounds exactly like a symbol of China, what characterize a lot of performing interpretation aspects. The song is construed by the singer not as a lyrical utterance, but as an “aria di sortita”. One more variant of Song Zuying’s «Jasmine Flower» interpretation was performed to the public together with Celine Dion at the «Spring Festival» in China (2013). According to the director design, the singers performing one song together appear as the embodiment of the images of their peoples that is reflected in the visual row. On deeper layers of understanding, this performance shows musical thinking specificity of representatives of different cultures. Consequently, ancient Chinese song «Jasmine Flower» appears in modern art as open text, which transformation process, obviously, will continue. One more composition, which became the symbol of China, is the song «Me and my Motherland» composed in 1985 by Qin Youngcheng (on Zhang Li lyrics). In our thinking, the song «Me and my Motherland» is illustrative of intonational transformation of music characterizing the Motherland image in the China art. Written in the last third of the twentieth century, the song is a vivid example of the refraction of European musical traditions, there is continuity with ideologically biased, but artistically distinctive and highly professional the Soviet pop. In this song, a person appears as a part of more important wholeness: nature, nation, a family. It is felt also in Liao Changyong’s performing version. His interpretation is characterized by happy combination of Chinese and West European traditions; bel canto singing and musical texture of song smooth out those Chinese language phonetic properties that usually demonstrate national arts specificity. Conclusions. Songs, presenting the image of China, are an integral part in Chinese vocalists’ work. These compositions inspired by love for their native land withstood the test of time, spread in sing repertoire and reflect that huge way that Chinese vocal school has passed over the past hundred years. Today, both the national tradition and the stylistics borrowed from a number of European countries organically coexist there. The demand for such compositions in concert world space testifies to the action of a centripetal force aimed at preserving national identity in conditions of cultural globalization.

Biopunk is an intriguing development of that essential cultural reference point for the information age: cyberpunk. William Gibson's Neuromancer (1984) did more than popularise the phrase cyberspace, it laid the basis for a genre that went on to capture the turbulent zeitgeist of a new digital age in which the promises of the much-vaunted, information society finally seemed possible. Karl Marx used the phrase "All that is solid melts into air..."1 to describe the profound social changes wrought by capitalism. It is also a fitting description of the apparent technology-induced paradigm shift in our contemporary perception of the world. Increasingly, solid, material structures are viewed in immaterial, informational terms and the boundaries between previously distinct categories are blurring. This paradigm shift has produced attendant tensions and the significance of biopunk resides in its cultural representation or 'playing out' our contemporary ontological confusion: physicality's newly problematic status. This article briefly samples the work of the British writers Jeff Noon and Michael Marshall Smith to argue that in the rapidly-approaching era of a fully-mapped human genome, biopunk provides a much-needed cathartic imaginative outlet for our growing confusion about the status of the physical in our brave new digital world. Viral Times -- Hybrid Confusion In the past we have always assumed that the external world around us has represented reality, however confusing or uncertain, and that the inner world of our minds, its dreams, hopes, ambitions, represented the realm of fantasy and the imagination. These roles it seems to me have been reversed ... the one small node of reality left to us is inside our own heads. (Ballard 5) The notion that biopunk's imaginative excesses can provide potentially useful insights into the contemporary condition is backed by the sense that the traditional boundary between the real and imagined worlds has become irretrievably blurred. Thus J.G. Ballard suggests that the ubiquity and pervasiveness of modern technology has reversed our usual ontological categories, a sentiment endorsed by Columbus, a character from Noon's novel Pollen, who asserts that "what is presently inside the head will shortly be outside the head. The dream! The dream will live!" (193). The increasing perception of such an ontological reversal is reflected in claims that cyberpunk can be viewed as social theory (Burrows) whereas "Baudrillard's futuristic postmodern social theory can be read in turn as science fiction" (Kellner 299). Cyberpunk fiction utilises the pace of technological change as a permanent narrative back-drop, and having identified various social trends within late capitalism re-presents them with an 'exaggerated clarity' that has become its hallmark. Biopunk takes such exaggerations even further. It metaphorises cyberpunk's social instabilities into an alarming maelstrom of biological uncertainty: exaggerated clarity becomes exaggerated anxiety. Biopunk develops the informationally saturated mise-en-scène of cyberpunk by exploring further the implications of the increasing convergence between information as an abstract entity and its embodied manipulation in biological DNA. It pursues Marx's previously cited image of melting ephemerality with fictional fervour: "These days the doors between the two worlds were slippery, as though the walls were going fluid" (Noon, Pollen 92)2. Biopunk's fictional emphasis upon disorienting levels of fluidity reflects non-fictional concerns about the potential information overloading tendencies of digital technologies: "the tie between information and action has been severed ... we are glutted with information, drowning in information, we have no control over it, don't know what to do with it" (Postman 6). In Pollen, Noon provides a grotesque metaphorical representation of Postman's fears in his portrayal of a near-future Manchester struggling to cope with the after-effects of the widespread dispersal of a powerful fertility drug called Fecundity 10. The city is over-run by exponentially proliferating flora and fauna that combine in a frenetic confusion of unlikely hybrid genetic couplings. Noon uses a blurring of previously distinct genetic categories to symbolise society's inability to control the growth of information. His fiction 'fleshes out' digitally-induced anxieties with a sustained depiction of futuristic Hieronymous Bosch-like febrility and fecundity, or, to use a phrase of Baudrillard's, 'organic delirium': The Zombies were dancing and blooming around the shit and the dust, flowers sprouting from their tough skins, petals falling from their mouths. It was a fine show of fauna and flora, all mixed into one being. New species ... It was a time of happenings and flower power. A time of changes. That's why this hayfever wave is exciting me so much, despite the danger. It's got me in two minds, this fever. The flowers are making a come back, and the world is getting messier. The barricades are coming down. This city is so fucking juicy right now. (Noon, Pollen 117 & 166) Noon's Nymphomation is set in a near-future Manchester that is the testing site for a national lottery based upon a domino-like game. The neologism that provides the novel's title, continues his key theme of fecundity, it is used: ... to denote a complex mathematical procedure where numbers rather than being added together or multiplied or whatever, were actually allowed to breed with each other, to produce new numbers, which had something to do with 'breeding ever more pathways towards the goal'. (Noon, Nymphomation 119) Fecundity in this setting does not only apply to the mating of informational and biological entities but is also apparent in the meme-like transmission of a pervasive copulatory capitalist zeitgeist: "the naked populace, making foreplay to the domiviz, bone-eyed and numberfucked ... Even the air had a hard-on, bulging with mathematics. Turning the burbflies into a nympho-swarm, liquid streets alive with perverts ..." (Noon, Nymphomation 65) General fecundity is specifically manifested in a glut of commercial activity which the authorities no longer seem able to control: "the streets of Blurbchester were thick with the mergers, a corporate fog of brand images. People had to battle through them ... The Government was at a loss regarding the overwhelming messages; they knew the experiment had gone wrong ... but how to right it?" (240). Informational overload becomes a reproductive frenzy whereby corporate messages breed literally like flies. Gibson's dance of biz becomes an actual buzz: As the burbflies went out of control, blocking out the streetlights, making a cloud of logos. It was rutting season for the living verts, and all over the city the male blurbs were riding on the backs of females. Biting their necks, hoping for babyverts. The city, the pulsating city, alive with the rain and colours and the stench of nymphomation Mathemedia. Here we go, numberfucked ... (Noon, Nymphomation 159) In the real world, the process of technological change causes flux and confusion. Cyberpunk fiction represents this by describing dystopian social environments. Its protagonists revel in the loss of traditional and coherent social values such as law and order and community where its protagonists revel in an unlimited smorgasboard of privatised formerly public services. Biopunk's distinctive quality stems from its own peculiar perspective on such confusion, manifested in a distinctive attention to bodily substance and a whole bestiary of new hybrid life-forms. Fleshy Contempt For Case, who'd lived for the bodiless exultation of cyberspace it was the Fall. In the bars he'd frequented as a cowboy hotshot, the elite stance involved a certain relaxed contempt for the flesh. The body was meat. Case fell into the prison of his own flesh. (Gibson, Neuromancer 12) This early passage from Neuromancer describes its protagonist's addictive relationship to the Matrix and provides a neat summary of cyberpunk's perspective on the growing subordination of the physical. Digital pleasure is experienced at the expense of alienation with the material environment. In Douglas Coupland's 'factional' work Microserfs (1995) the excessively manicured lawns at Microsoft headquarters merely represent an epiphenomenon of a more deeply-rooted societal trend towards the diminished importance of our physical sensibilities. Lego, or 'Satan's playtoy', is humorously identified as an emblematic commodity of this tendency due to the way in which it is responsible for brainwashing entire generations of youth from the information-dense industrialized nations into developing mind-sets that view the world as unitized, sterile, inorganic, and interchangeably modular ... Lego is, like, the perfect device to enculturate a citizenry intolerant of smell, intestinal by-products, nonadherence to unified standards, decay, blurred edges, germination and death. Try imagining a forest made of Lego. Good luck. Do you ever see Legos made from ice? dung? wood? iron? and sphagnum moss? No -- grotacious, or what? (Coupland 258) A typically distinguishing feature of biopunk is its willingness to stretch such aspects of the digital zeitgeist to their limits. In contrast to Coupland's easy humour and cyberpunk's "relaxed contempt for the flesh", biopunk refashions sentiments of unease with physical immediacy to take the form of nauseating disgust with the biological per se. In Spares, this is vividly embodied when, for example, objects fall into reality from the cyberspatial Gap: It was a bird, of a kind. A bird or a cat, either way. It was featherless, but stood a foot tall on spindly jointed legs; its face was avian but -- like the body -- fat and dotted with patchy, moulting orange fur. Two vestigial wings poked out of its side at right angles, looking as if they had been unceremoniously amputated with scissors and then re-cauterized. Most of the creature's skin was visible, an unhealthy white mess that appeared to be weeping fluid. The whole body heaved in and out as it sat, as if labouring for breath, and it gave of a smell of recent decay -- as if fresh-minted for death ... its beak opened. The hole this revealed looked less like a mouth than a churned wound, and the eyes, though vicious, were faltering ... The bird tried to take a step towards us, but the effort caused one of its legs to break. The top joint teetered in its socket and then popped out. The creature flopped onto its side. The skin over the joint tore like an over-ripe fruit, releasing a gout of matter that resembled nothing so much as a heavy period mixed with sour cream. (Smith 162) Biopunk's almost neo-gnostic distaste for flesh has arguably become increasingly apparent in William Gibson's later work. In Neuromancer, for example, the tone of 'relaxed contempt' is still evident in his description of the population's consumer demand: "Summer in the Sprawl, the mall crowds swaying like windblown grass, a field of flesh shot through with sudden eddies of need and gratification" (60). However, his vision is certainly less relaxed when, by the time of Idoru (1996), he describes how the media's audience ... is best visualized as a vicious, lazy, profoundly ignorant, perpetually hungry organism craving the warm god-flesh of the annointed. Personally I like to imagine something the size of a baby hippo, the color of a week-old boiled potato, that lives by itself, in the dark, in a double-wide on the outskirts of Topeka. It's covered with eyes and it sweats constantly. The sweat runs into those eyes and makes them sting. It has no mouth ... no genitals, and can only express its mute extremes of murderous rage and infantile desire by changing the channels on a universal remote. Or by voting in presidential elections. (28-9) Conclusion Just before an airplane breaks the sound barrier, sound waves become visible on the wings of the plane. The sudden visibility of sound just as sound ends is an apt instance of that great pattern of being that reveals new and opposite forms just as the earlier forms reach their peak performance. (McLuhan 12) McLuhan's image of the dramatic visibility of sound right at the moment of its imminent supercedance is a useful way of conceptualising the significance of biopunk and its obsessive highlighting of bodies and their metaphoric power. Perhaps as we leap-frog the mechanical technologies of modernity into a postindustrial world where information attains the status of the fourth element, biopunk is performing an idiosyncratic eulogy at the funeral of physicality. Footnotes Marshall Berman uses this phrase for the title of his historical, socio-cultural exploration of capitalism and its effects. Further examples include: ... the world is getting very fluid these days. Very fluid. Dangerously so (Noon, Pollen 101) ... It was a fluid world and there was danger for everybody living there. (157) ... the real world is up for grabs, especially since the world has become so fluid. (200) ... Even time was becoming fluid under the new map (246) ... Coyote is howling now, turning the road into liquid so he can glide down its throat. (254) The world was dissolving and the new day bled away ... safety, the rules, cartography, instruction ... all the bad things were peeling away (278) References Ballard, J.G. Crash. London: Vintage, 1995. Berman, M. All That Is Solid Melts into Air. London: Verso, 1983. Burrows, R. "Cyberpunk as Social Theory." Imagining Cities. Eds. S. Westwood and J. Williams. London: Routledge, 1997. Coupland, D. Microserfs. London: Flamingo, 1995. Gibson, W. Neuromancer. London: Grafton, 1984. ---. Idoru. London:Viking, 1996. Kellner, D. Media Culture. London: Routledge, 1995. McLuhan, M. Understanding Media. New York: New American Library, 1964. Noon, Jeff. Vurt. Manchester: Ringpull, 1993. ---. Pollen. Manchester: Ringpull, 1995. ---. Nymphomation, London: Corgi, 1997. Postman, N. "Informing Ourselves to Death." German Informatics Society, Stuttgart. 1990. 26 June 2000 <http://www.eff.org/pub/Net_culture/Criticisms/informing_ourselves_to_death.paper>. Smith, M. M. Spares. London: HarperCollins, 1996. Stephenson, N. Snow Crash. New York: Bantam Spectra, 1992. Citation reference for this article MLA style: Paul Taylor. "Fleshing Out the Maelstrom: Biopunk and the Violence of Information." M/C: A Journal of Media and Culture 3.3 (2000). [your date of access] <http://www.api-network.com/mc/0006/speed.php>. Chicago style: Paul Taylor, "Fleshing Out the Maelstrom: Biopunk and the Violence of Information," M/C: A Journal of Media and Culture 3, no. 3 (2000), <http://www.api-network.com/mc/0006/speed.php> ([your date of access]). APA style: Paul Taylor. (2000) Fleshing Out the Maelstrom: Biopunk and the Violence of Information. M/C: A Journal of Media and Culture 3(3). <http://www.api-network.com/mc/0006/speed.php> ([your date of access]).

If you cannot understand my argument, and declare “It’s Greek to me,” you are quoting Shakespeare.Bernard LevinPsoriatic arthritis, in its acute or “generalised” stage, is unbearably painful. Exacerbating the crippling of the joints, the entire surface of the skin is covered with lesions only moderately salved by anti-inflammatory ointment, the application of which is as painful as the ailment it seeks to relieve: NURSE MILLS: I’ll be as gentle as I can.Marlow’s face again fills the screen, intense concentration, comical strain, and a whispered urgency in the voice over—MARLOW: (Voice over) Think of something boring—For Christ’s sake think of something very very boring—Speech a speech by Ted Heath a sentence long sentence from Bernard Levin a quiz by Christopher Booker a—oh think think—! Really boring! A Welsh male-voice choir—Everything in Punch—Oh! Oh! — (Potter 17-18)Marlow’s collation of boring things as a frantic liturgy is an attempt to distract himself from a tumescence that is both unwanted and out of place. Although bed-ridden and in constant pain, he is still sensitive to erogenous stimulation, even when it is incidental. The act of recollection, of garnering lists of things that bore him, distracts him from his immediate situation as he struggles with the mental anguish of the prospect of a humiliating orgasm. Literary lists do many things. They provide richness of detail, assemble and corroborate the materiality of the world of which they are a part and provide insight into the psyche and motivation of the collator. The sheer desperation of Dennis Potter’s Marlow attests to the arbitrariness of the list, the simple requirement that discrete and unrelated items can be assembled in linear order, without any obligation for topical concatenation. In its interrogative form, the list can serve a more urgent and distressing purpose than distraction:GOLDBERG: What do you use for pyjamas?STANLEY: Nothing.GOLDBERG: You verminate the sheet of your birth.MCCANN: What about the Albigensenist heresy?GOLDBERG: Who watered the wicket in Melbourne?MCCANN: What about the blessed Oliver Plunkett?(Pinter 51)The interrogative non sequitur is an established feature of the art of intimidation. It is designed to exert maximum stress in the subject through the use of obscure asides and the endowing of trivial detail with profundity. Harold Pinter’s use of it in The Birthday Party reveals how central it was to his “theatre of menace.” The other tactic, which also draws on the logic of the inventory to be both sequential and discontinuous, is to break the subject’s will through a machine-like barrage of rhetorical questions that leave no time for answers.Pinter learned from Samuel Beckett the pitiless, unforgiving logic of trivial detail pushed to extremes. Think of Molloy’s dilemma of the sucking stones. In order for all sixteen stones that he carries with him to be sucked at least once to assuage his hunger, a reliable system has to be hit upon:Taking a stone from the right pocket of my greatcoat, and putting it in my mouth, I replaced it in the right pocket of my greatcoat by a stone from the right pocket of my trousers, which I replaced with a stone from the left pocket of my trousers, which I replaced by a stone from the left pocket of my greatcoat, which I replaced with the stone that was in my mouth, as soon as I had finished sucking it. Thus there were still four stones in each of my four pockets, but not quite the same stones. And when the desire to suck took hold of me again, I drew again on the right pocket of my greatcoat, certain of not taking the same stone as the last time. And while I sucked it I rearranged the other stones in the way I have just described. And so on. (Beckett, Molloy 69)And so on for six pages. Exhaustive permutation within a finite lexical set is common in Beckett. In the novel Watt the eponymous central character is charged with serving his unseen master’s dinner as well as tidying up afterwards. A simple and bucolic enough task it would seem. But Beckett’s characters are not satisfied with conjecture, the simple assumption that someone must be responsible for Mr. Knott’s dining arrangements. Like Molloy’s solution to the sucking stone problem, all possible scenarios must be considered to explain the conundrum of how and why Watt never saw Knott at mealtime. Twelve possibilities are offered, among them that1. Mr. Knott was responsible for the arrangement, and knew that he was responsible for the arrangement, and knew that such an arrangement existed, and was content.2. Mr. Knott was not responsible for the arrangement, but knew who was responsible for the arrangement, and knew that such an arrangement existed, and was content.(Beckett, Watt 86)This stringent adherence to detail, absurd and exasperating as it is, is the work of fiction, the persistence of a viable, believable thing called Watt who exists as long as his thought is made manifest on a page. All writers face this pernicious prospect of having to confront and satisfy “fiction’s gargantuan appetite for fact, for detail, for documentation” (Kenner 70). A writer’s writer (Philip Marlow) Dennis Potter’s singing detective struggles with the acute consciousness that words eventually will fail him. His struggle to overcome verbal entropy is a spectre that haunts the entire literary imagination, for when the words stop the world stops.Beckett made this struggle the very stuff of his work, declaring famously that all he wanted to do as a writer was to leave “a stain upon the silence” (quoted in Bair 681). His characters deteriorate from recognisable people (Hamm in Endgame, Winnie in Happy Days) to mere ciphers of speech acts (the bodiless head Listener in That Time, Mouth in Not I). During this process they provide us with the vocabulary of entropy, a horror most eloquently expressed at the end of The Unnamable: I can’t go on, you must go on, I’ll go on, you must say words, as long as there are any, until they find me, until they say me, strange pain, strange sin, you must go on, perhaps it’s done already, perhaps they have said me already, perhaps they have carried me to the threshold of my story, before the door that opens on my story, that would surprise me, if it opens, it will be I, it will be the silence, where I am, I don’t know, I’ll never know, in the silence you don’t know, you must go on, I can’t go on, I’ll go on. (Beckett, Molloy 418)The importance Beckett accorded to pauses in his writing, from breaks in dialogue to punctuation, stresses the pacing of utterance that is in sync with the rhythm of human breath. This is acutely underlined in Jack MacGowran’s extraordinary gramophone recording of the above passage from The Unnamable. There is exhaustion in his voice, but it is inflected by an urgent push for the next words to forestall the last gasp. And what might appear to be parsimony is in fact the very commerce of writing itself. It is an economy of necessity, when any words will suffice to sustain presence in the face of imminent silence.Hugh Kenner has written eloquently on the relationship between writing and entropy, drawing on field and number theory to demonstrate how the business of fiction is forever in the process of generating variation within a finite set. The “stoic comedian,” as he figures the writer facing the blank page, self-consciously practices their art in the full cognisance that they select “elements from a closed set, and then (arrange) them inside a closed field” (Kenner 94). The nouveau roman (a genre conceived and practiced in Beckett’s lean shadow) is remembered in literary history as a rather austere, po-faced formalism that foregrounded things at the expense of human psychology or social interaction. But it is emblematic of Kenner’s portrait of stoicism as an attitude to writing that confronts the nature of fiction itself, on its own terms, as a practice “which is endlessly arranging things” (13):The bulge of the bank also begins to take effect starting from the fifth row: this row, as a matter of fact, also possesses only twenty-one trees, whereas it should have twenty-two for a true trapezoid and twenty-three for a rectangle (uneven row). (Robbe-Grillet 21)As a matter of fact. The nouveau roman made a fine if myopic art of isolating detail for detail’s sake. However, it shares with both Beckett’s minimalism and Joyce’s maximalism the obligation of fiction to fill its world with stuff (“maximalism” is a term coined by Michel Delville and Andrew Norris in relation to the musical scores of Frank Zappa that opposes the minimalism of John Cage’s work). Kenner asks, in The Stoic Comedians, where do the “thousands on thousands of things come from, that clutter Ulysses?” His answer is simple, from “a convention” and this prosaic response takes us to the heart of the matter with respect to the impact on writing of Isaac Newton’s unforgiving Second Law of Thermodynamics. In the law’s strictest physical sense of the dissipation of heat, of the loss of energy within any closed system that moves, the stipulation of the Second Law predicts that words will, of necessity, stop in any form governed by convention (be it of horror, comedy, tragedy, the Bildungsroman, etc.). Building upon and at the same time refining the early work on motion and mass theorised by Aristotle, Kepler, and Galileo, inter alia, Newton refined both the laws and language of classical mechanics. It was from Wiener’s literary reading of Newton that Kenner segued from the loss of energy within any closed system (entropy) to the running silent out of words within fiction.In the wake of Norbert Wiener’s cybernetic turn in thinking in the 1940s, which was highly influenced by Newton’s Second Law, fiction would never again be considered in the same way (metafiction was a term coined in part to recognise this shift; the nouveau roman another). Far from delivering a reassured and reassuring present-ness, an integrated and ongoing cosmos, fiction is an isometric exercise in the struggle against entropy, of a world in imminent danger of running out of energy, of not-being:“His hand took his hat from the peg over his initialled heavy overcoat…” Four nouns, and the book’s world is heavier by four things. One, the hat, “Plasto’s high grade,” will remain in play to the end. The hand we shall continue to take for granted: it is Bloom’s; it goes with his body, which we are not to stop imagining. The peg and the overcoat will fade. “On the doorstep he felt in his hip pocket for the latchkey. Not there. In the trousers I left off.” Four more things. (Kenner 87)This passage from The Stoic Comedians is a tour de force of the conjuror’s art, slowing down the subliminal process of the illusion for us to see the fragility of fiction’s precarious grip on the verge of silence, heroically “filling four hundred empty pages with combinations of twenty-six different letters” (xiii). Kenner situates Joyce in a comic tradition, preceded by Gustave Flaubert and followed by Beckett, of exhaustive fictive possibility. The stoic, he tells us, “is one who considers, with neither panic nor indifference, that the field of possibilities available to him is large perhaps, or small perhaps, but closed” (he is prompt in reminding us that among novelists, gamblers and ethical theorists, the stoic is also a proponent of the Second Law of Thermodynamics) (xiii). If Joyce is the comedian of the inventory, then it is Flaubert, comedian of the Enlightenment, who is his immediate ancestor. Bouvard and Pécuchet (1881) is an unfinished novel written in the shadow of the Encyclopaedia, an apparatus of the literate mind that sought complete knowledge. But like the Encyclopaedia particularly and the Enlightenment more generally, it is fragmentation that determines its approach to and categorisation of detail as information about the world. Bouvard and Pécuchet ends, appropriately, in a frayed list of details, pronouncements and ephemera.In the face of an unassailable impasse, all that is left Flaubert is the list. For more than thirty years he constructed the Dictionary of Received Ideas in the shadow of the truncated Bouvard and Pécuchet. And in doing so he created for the nineteenth century mind “a handbook for novelists” (Kenner 19), a breakdown of all we know “into little pieces so arranged that they can be found one at a time” (3): ACADEMY, FRENCH: Run it down but try to belong to it if you can.GREEK: Whatever one cannot understand is Greek.KORAN: Book about Mohammed, which is all about women.MACHIAVELLIAN: Word only to be spoken with a shudder.PHILOSOPHY: Always snigger at it.WAGNER: Snigger when you hear his name and joke about the music of the future. (Flaubert, Dictionary 293-330)This is a sample of the exhaustion that issues from the tireless pursuit of categorisation, classification, and the mania for ordered information. The Dictionary manifests the Enlightenment’s insatiable hunger for received ideas, an unwieldy background noise of popular opinion, general knowledge, expertise, and hearsay. In both Bouvard and Pécuchet and the Dictionary, exhaustion was the foundation of a comic art as it was for both Joyce and Beckett after him, for the simple reason that it includes everything and neglects nothing. It is comedy born of overwhelming competence, a sublime impertinence, though not of manners or social etiquette, but rather, with a nod to Oscar Wilde, the impertinence of being definitive (a droll epithet that, not surprisingly, was the title of Kenner’s 1982 Times Literary Supplement review of Richard Ellmann’s revised and augmented biography of Joyce).The inventory, then, is the underlining physio-semiotics of fictional mechanics, an elegiac resistance to the thread of fiction fraying into nothingness. The motif of thermodynamics is no mere literary conceit here. Consider the opening sentence in Borges:Of the many problems which exercised the reckless discernment of Lönnrot, none was so strange—so rigorously strange, shall we say—as the periodic series of bloody events which culminated at the villa of Triste-le-Roy, amid the ceaseless aroma of the eucalypti. (Borges 76)The subordinate clause, as a means of adjectival and adverbial augmentation, implies a potentially infinite sentence through the sheer force of grammatical convention, a machine-like resistance to running out of puff:Under the notable influence of Chesterton (contriver and embellisher of elegant mysteries) and the palace counsellor Leibniz (inventor of the pre-established harmony), in my idle afternoons I have imagined this story plot which I shall perhaps write someday and which already justifies me somehow. (72)In “Pierre Menard, Author of the Quixote,” a single adjective charmed with emphasis will do to imply an unseen network:The visible work left by this novelist is easily and briefly enumerated. (Borges 36)The annotation of this network is the inexorable issue of the inflection: “I have said that Menard’s work can be easily enumerated. Having examined with care his personal files, I find that they contain the following items.” (37) This is a sample selection from nineteen entries:a) A Symbolist sonnet which appeared twice (with variants) in the review La conque (issues of March and October 1899).o) A transposition into alexandrines of Paul Valéry’s Le cimitière marin (N.R.F., January 1928).p) An invective against Paul Valéry, in the Papers for the Suppression of Reality of Jacques Reboul. (37-38)Lists, when we encounter them in Jorge Luis Borges, are always contextual, supplying necessary detail to expand upon character and situation. And they are always intertextual, anchoring this specific fictional world to others (imaginary, real, fabulatory or yet to come). The collation and annotation of the literary works of an imagined author (Pierre Menard) of an invented author (Edmond Teste) of an actual author (Paul Valéry) creates a recursive, yet generative, feedback loop of reference and literary progeny. As long as one of these authors continues to write, or write of the work of at least one of the others, a persistent fictional present tense is ensured.Consider Hillel Schwartz’s use of the list in his Making Noise (2011). It not only lists what can and is inevitably heard, in this instance the European 1700s, but what it, or local aural colour, is heard over:Earthy: criers of artichokes, asparagus, baskets, beans, beer, bells, biscuits, brooms, buttermilk, candles, six-pence-a-pound fair cherries, chickens, clothesline, cockles, combs, coal, crabs, cucumbers, death lists, door mats, eels, fresh eggs, firewood, flowers, garlic, hake, herring, ink, ivy, jokebooks, lace, lanterns, lemons, lettuce, mackeral, matches […]. (Schwartz 143)The extended list and the catalogue, when encountered as formalist set pieces in fiction or, as in Schwartz’s case, non-fiction, are the expansive equivalent of le mot juste, the self-conscious, painstaking selection of the right word, the specific detail. Of Ulysses, Kenner observes that it was perfectly natural that it “should have attracted the attention of a group of scholars who wanted practice in compiling a word-index to some extensive piece of prose (Miles Hanley, Word Index to Ulysses, 1937). More than any other work of fiction, it suggests by its texture, often by the very look of its pages, that it has been painstakingly assembled out of single words…” (31-32). In a book already crammed with detail, with persistent reference to itself, to other texts, other media, such formalist set pieces as the following from the oneiric “Circe” episode self-consciously perform for our scrutiny fiction’s insatiable hunger for more words, for invention, the Latin root of which also gives us the word inventory:The van of the procession appears headed by John Howard Parnell, city marshal, in a chessboard tabard, the Athlone Poursuivant and Ulster King of Arms. They are followed by the Right Honourable Joseph Hutchinson, lord mayor Dublin, the lord mayor of Cork, their worships the mayors of Limerick, Galway, Sligo and Waterford, twentyeight Irish representative peers, sirdars, grandees and maharajahs bearing the cloth of estate, the Dublin Metropolitan Fire Brigade, the chapter of the saints of finance in their plutocratic order of precedence, the bishop of Down and Connor, His Eminence Michael cardinal Logue archbishop of Armagh, primate of all Ireland, His Grace, the most reverend Dr William Alexander, archbishop of Armagh, primate of all Ireland, the chief rabbi, the Presbyterian moderator, the heads of the Baptist, Anabaptist, Methodist and Moravian chapels and the honorary secretary of the society of friends. (Joyce, Ulysses 602-604)Such examples demonstrate how Joycean inventories break from narrative as architectonic, stand-alone assemblages of information. They are Rabelaisian irruptions, like Philip Marlow’s lesions, that erupt in swollen bas-relief. The exaggerated, at times hysterical, quality of such lists, perform the hallucinatory work of displacement and condensation (the Homeric parallel here is the transformation of Odysseus’s men into swine by the witch Circe). Freudian, not to mention Stindberg-ian dream-work brings together and juxtaposes images and details that only make sense as non-sense (realistic but not real), such as the extraordinary explosive gathering of civic, commercial, political, chivalric representatives of Dublin in this foreshortened excerpt of Bloom’s regal campaign for his “new Bloomusalem” (606).The text’s formidable echolalia, whereby motifs recur and recapitulate into leitmotifs, ensures that the act of reading Ulysses is always cross-referential, suggesting the persistence of a conjured world that is always already still coming into being through reading. And it is of course this forestalling of Newton’s Second Law that Joyce brazenly conducts, in both the textual and physical sense, in Finnegans Wake. The Wake is an impossible book in that it infinitely sustains the circulation of words within a closed system, creating a weird feedback loop of cyclical return. It is a text that can run indefinitely through the force of its own momentum without coming to a conclusion. In a text in which the author’s alter ego is described in terms of the technology of inscription (Shem the Penman) and his craft as being a “punsil shapner,” (Joyce, Finnegans 98) Norbert Wiener’s descriptive example of feedback as the forestalling of entropy in the conscious act of picking up a pencil is apt: One we have determined this, our motion proceeds in such a way that we may say roughly that the amount by which the pencil is not yet picked up is decreased at each stage. (Wiener 7) The Wake overcomes the book’s, and indeed writing’s, struggle with entropy through the constant return of energy into its closed system as a cycle of endless return. Its generative algorithm can be represented thus: “… a long the riverrun …” (628-3). The Wake’s sense of unending confounds and contradicts, in advance, Frank Kermode’s averring to Newton’s Second Law in his insistence that the progression of all narrative fiction is defined in terms of the “sense of an ending,” the expectation of a conclusion, whereby the termination of words makes “possible a satisfying consonance with the origins and with the middle” (Kermode 17). It is the realisation of the novel imagined by Silas Flannery, the fictitious author in Italo Calvino’s If on a winter’s night a traveller, an incipit that “maintains for its whole duration the potentiality of the beginning” (Calvino 140). Finnegans Wake is unique in terms of the history of the novel (if that is indeed what it is) in that it is never read, but (as Joseph Frank observed of Joyce generally) “can only be re-read” (Frank 19). With Wiener’s allegory of feedback no doubt in mind, Jacques Derrida’s cybernetic account of the act of reading Joyce comes, like a form of echolalia, on the heels of Calvino’s incipit, his perpetual sustaining of the beginning: you stay on the edge of reading Joyce—for me this has been going on for twenty-five or thirty years—and the endless plunge throws you back onto the river-bank, on the brink of another possible immersion, ad infinitum … In any case, I have the feeling that I haven’t yet begun to read Joyce, and this “not having begun to read” is sometimes the most singular and active relationship I have with his work. (Derrida 148) Derrida wonders if this process of ongoing immersion in the text is typical of all works of literature and not just the Wake. The question is rhetorical and resonates into silence. And it is silence, ultimately, that hovers as a mute herald of the end when words will simply run out.Post(script)It is in the nature of all writing that it is read in the absence of its author. Perhaps the most typical form of writing, then, is the suicide note. In an extraordinary essay, “Goodbye, Cruel Words,” Mark Dery wonders why it has been “so neglected as a literary genre” and promptly sets about reviewing its decisive characteristics. Curiously, the list features amongst its many forms: I’m done with lifeI’m no goodI’m dead. (Dery 262)And references to lists of types of suicide notes are among Dery’s own notes to the essay. With its implicit generic capacity to intransitively add more detail, the list becomes in the light of the terminal letter a condition of writing itself. The irony of this is not lost on Dery as he ponders the impotent stoicism of the scribbler setting about the mordant task of writing for the last time. Writing at the last gasp, as Dery portrays it, is a form of dogged, radical will. But his concluding remarks are reflective of his melancholy attitude to this most desperate act of writing at degree zero: “The awful truth (unthinkable to a writer) is that eloquent suicide notes are rarer than rare because suicide is the moment when language fails—fails to hoist us out of the pit, fails even to express the unbearable weight” (264) of someone on the precipice of the very last word they will ever think, let alone write. Ihab Hassan (1967) and George Steiner (1967), it would seem, were latecomers as proselytisers of the language of silence. But there is a queer, uncanny optimism at work at the terminal moment of writing when, contra Dery, words prevail on the verge of “endless, silent night.” (264) Perhaps when Newton’s Second Law no longer has carriage over mortal life, words take on a weird half-life of their own. Writing, after Socrates, does indeed circulate indiscriminately among its readers. There is a dark irony associated with last words. When life ceases, words continue to have the final say as long as they are read, and in so doing they sustain an unlikely, and in their own way, stoical sense of unending.ReferencesBair, Deirdre. Samuel Beckett: A Biography. London: Jonathan Cape, 1978.Beckett, Samuel. Molloy Malone Dies. The Unnamable. London: John Calder, 1973.---. Watt. London: John Calder, 1976.Borges, Jorge Luis. Labyrinths. Selected Stories & Other Writings. Ed. Donald A. Yates & James E. Irby. New York: New Directions, 1964.Calvino, Italo. If On A Winter’s Night A Traveller. Trans. William Weaver, London: Picador, 1981.Delville, Michael, and Andrew Norris. “Frank Zappa, Captain Beefheart, and the Secret History of Maximalism.” Ed. Louis Armand. Contemporary Poetics: Redefining the Boundaries of Contemporary Poetics, in Theory & Practice, for the Twenty-First Century. Evanston: Northwestern UP, 2007. 126-49.Derrida, Jacques. “Two Words for Joyce.” Post-Structuralist Joyce. Essays from the French. Ed. Derek Attridge and Daniel Ferrer. Cambridge: Cambridge UP, 1984. 145-59.Dery, Mark. I Must Not think Bad Thoughts: Drive-by Essays on American Dread, American Dreams. Minneapolis: U of Minnesota P, 2012.Frank, Joseph, “Spatial Form in Modern Literature.” Sewanee Review, 53, 1945: 221-40, 433-56, 643-53.Flaubert, Gustave. Bouvard and Pécuchet. Trans. A. J. KrailSheimer. Harmondsworth: Penguin, 1976.Flaubert, Gustave. Dictionary of Received Ideas. Trans. A. J. KrailSheimer. Harmondsworth: Penguin, 1976.Hassan, Ihab. The Literature of Silence: Henry Miller and Samuel Beckett. New York: Knopf, 1967.Joyce, James. Finnegans Wake. London: Faber and Faber, 1975.---. Ulysses. Harmondsworth: Penguin, 1992.Kenner, Hugh. The Stoic Comedians. Berkeley: U of California P, 1974.Kermode, Frank. The Sense of an Ending: Studies in the Theory of Narrative Fiction. New York: Oxford U P, 1966.‪Levin, Bernard. Enthusiasms. London: Jonathan Cape, 1983.MacGowran, Jack. MacGowran Speaking Beckett. Claddagh Records, 1966.Pinter, Harold. The Birthday Party. London: Methuen, 1968.Potter, Dennis. The Singing Detective. London, Faber and Faber, 1987.Robbe-Grillet, Alain. Jealousy. Trans. Richard Howard. London: John Calder, 1965.Schwartz, Hillel. Making Noise. From Babel to the Big Bang and Beyond. New York: Zone Books, 2011.Steiner, George. Language and Silence: New York: Atheneum, 1967.Wiener, Norbert. Cybernetics, Or Control and Communication in the Animal and the Machine. Cambridge, Mass.: MIT Press, 1965.

The elaborate cross-media spectacle, ‘Australian Idol,’ ostensibly lays bare the process of creating a pop star. Yet with so much made visible, much is rendered opaque. Specifically, ‘Idol’ is defined by the use of carefully-tuned strategies of publicity and promotion that create, shape and reshape a series of ‘authentic celebrities’ – pop stars whose emergence is sanctified through a seemingly open process of public ratification. Yet, Idol’s main actor is the music industry itself which uses contestants as vehicles for crafting intimate, long-term relationships with consumers. Through an analysis of the process through which various contestants in ‘Australian Idol’ are promoted and sold, it becomes clear that these populist icons are emblematic of an industry reinventing itself in a media environment that presents remarkable challenges and surprising opportunities. Curiously, the debates, strategies and motivations of the public relations industry have received little sustained attention in popular music studies. While much has been written about the contradictions between the rhetoric of rebellion and the complicated realities of corporate success (Frank; Negus), less has been written about the evolution of specific kinds of publicity and the strategies that shape their use in the music industry. This is surprising given the foundational role of public relations strategies within the culture industries generally and the music industry in particular. Specifically, what Turner et. al. define as ‘the promotional culture’ is central to the production and marketing of mainstream popular music. The ‘Idol’ phenomenon offers a rich opportunity to examine how the mainstream of the popular music industry uses distinct and novel marketing strategies in the face of declining sales of compact discs, an advertising environment that is extraordinarily crowded with all manner of competing messages, a steady rate of trade in digital song files and ever more effective competition from video games and DVDs. The ‘Idol’ phenomenon has proved to be a bundle of highly successful strategies for making money from popular music. Selling CDs seems to be almost ancillary to the phenomenon, acting as only one profit centre among many. Indeed, we can track the progress and deployment of specific strategies for shaping the creation of what has become a series of musical celebrities from the start of the first series of ‘Australian Idol’ through a continuous process of strategic publicity. The Attention Economy It has been somewhat hysterically estimated that the average resident of Sydney might be presented with around 3000 commercial messages a day (Lee). It is this kind of communication environment that makes account planners go weak in the knees in both paralysing anxiety and genuine excitement. Many have taken to paying people to go to bars, cafes and clubs to talk up the relative merits of a product to complete strangers in the guise of casual conversation. Similarly, commercial buskers have recently appeared on City Trains to proclaim the virtues of the wares they’ve been contracted to hawk. One can imagine ‘Cockles and Mussels’ has been updated as ‘MP3 Players and Really Cool Footwear.’ These phenomena are variously referred to as ‘viral,’ ‘tipping point,’ ‘word of mouth’ or ‘whisper’ marketing. (Gladwell; Godin; Henry; Lee; Rosen) Regardless of what you call it, the problem inspiring these promotional chats and arias is the same: advertisers can no longer count on getting and holding our attention. As Davenport and Beck, Brody and even Nobel Prize winning economist Herbert Simon have noted, the more taxed public attention gets, the more valuable it becomes. By most industry accounts, the attention economy is an established reality. It represents a significant shift of emphasis away from traditional methods of reaching consumers, instead inspiring new thinking about how to create lasting, flexible and evolving relationships with target audiences. The attention economy is a complicated and often contradictory response to a media environment that appears less and less reliable and to consumers who behaviour is often poorly understood, even mysterious (Elliott and Jankel-Elliott). This challenging backdrop, however, is only the beginning for a seemingly beleaguered music industry. Wherever one looks, from the rise of the very real threat of global piracy to the expansion of the video game industry to mobile phones and hand held players to increasing amounts of money spent on DVDs and ring tones, selling CDs has become almost a sideline. The main event is the profitable use and reuse of the industry’s vast stores of intellectual property through all manner of media, most which didn’t exist ten years ago. Indeed, the ‘Idol’ phenomenon shows us how the music industry has been incorporating its jealously-guarded intellectual property and familiar modes of industrial self-presentation into existing media environments to build long-term relationships with consumers through television, radio, DVDs, CDs, the internet and mobile phones. Further, ‘Idol’s’ producers have supplemented more traditional models of communication by taking direct and explicit account of how and where audiences use a wide variety of media. The broad range of opportunities to participate in ‘Idol’ is central to its success. It demonstrates a willingness on the part of producers to accept the necessity of bending somewhat to the audience’s existing and evolving uses of the media. In short, they are simply not all that fussy about how participation actually happens so long as it does. Producers allow for many kinds of participation in order to constantly offer more specific and more active levels of involvement. ‘Idol’ has transformed consumer relationships within the music industry by coaxing into being ever more intimate, active and reciprocal relationships over the course of the contest by encouraging increasingly specific acts by consumers to complete a continual series of transactions. The Use and Reuse of Celebrity In many quarters, ‘Australian Idol’ has become a byword for bullshit. The competition seems rigged and the contestants are not seen as ‘real’ musicians in large part because their experience appears to be so transparent and so transparently commercial. As the mythology of the music industry has traditionally had it, deserving pop stars are established as celebrities through what is a more or less a linear progression. Early success is based on a carefully constructed sense of authentic cultural production. Credibility is established through a series of contestable affiliations to ostensibly organic music cultures, earned through artistic development and the hard slog of touring and practice (see Maxwell 118). The fraught possibilities of mainstream success continually beckon to ‘real’ musicians as they either ‘crossover’ or remain independent all the while trying to preserve some elusive measure of public honesty. As this mythology was implicitly unavailable to the producers of ‘Idol,’ a different kind of authenticity had to be constructed. Instead of a ‘battles of the bands’ (read: brands) contest, ‘Idol’ producers chose to present ‘unbranded’ aspirants (“Sydney Audition”). These hopefuls are presented as appealingly ambitious or merely optimistic individuals with varying degrees of talent. Those truly blessed, not only with talent but the drive to work it into saleable shape, would be carefully chosen from the multitude and offered an opportunity to make the most of their inherent yet unformed ability. Thus, their authenticity was assumed to be an implicit, inchoate presence, requiring the guiding hand of insiders to reach full flower. Through the facilitation of competition and direction provided in the form of knowledgeable music industry veterans who never tire of giving stern admonitions to indifferent performers who do not take full advantage of the opportunity presented to them, contestants are asked to prove themselves through an extended period of intense self-presentation and recreation. The lengthy televised, but tightly-edited auditions, complete with extensive commentary and the occasional gnashing of teeth on the part of the panel of experts and rejected contestants, demonstrate to us the earnest intent of those involved. Importantly, the authenticity of those proceeding through the contest is never firmly established, but has to be continually and strategically re-established. Each weighty choice of repertoire, wardrobe and performance style can only break them; each successful performance only raises the stakes. This tense maintenance of status as a deserving celebrity runs in tandem with the increasingly attentive and reciprocal relationship between the producers and the audience. The relationship begins with what has proved to be a compelling first act. Thousands of ‘ordinary’ Australians line up outside venues throughout the country, many sleeping in car parks and on footpaths, practising, singing and performing for the mobile camera crews. We are presented with their youthful vigour in all its varied guises. We cannot help but be convinced of the worth of those who survive such a process. The chosen few who are told with a flourish ‘You’re going to Sydney’ are then faced with what appears to be a daunting challenge, to establish themselves in short order as a performer with ‘the X factor’ (“Australian Idol” 14 July 2004). A fine voice and interesting look must be supplemented with those intangible qualities that result in wide public appeal. Yet these qualities are only made available to the public and the performer because of the contest itself. When the public is eventually asked to participate directly, it is to both produce and ratify exactly these ambiguous attributes. More than this, contestants need our help just to survive. Their celebrity is almost shockingly unstable, more fleeting than its surrounding rhetoric and context might suggest and under constant, expected threat. From round to round, favourites can easily become also rans–wild cards who limp out of one round, but storm through the next. The drama can only be heightened, securing our interest by requiring our input. As any advertiser can tell you, an effective campaign must end in action on our part. Through text message and phone voting as well as extensive ‘fan management’ through internet chat rooms and bulletin boards (see Stahl 228; http://au.messages.yahoo.com/australianidol/), our channelled ‘viral’ participation both shapes and completes the meanings of the contest. These active and often inventive relationships (http://au.australianidol.yahoo.com/fancentral/) allow the eventual ‘Idol’ to claim the credibility the means of their success otherwise renders suspect and these activities appear to consummate the relationship. However, the relationship continues well beyond the gala final. In a fascinating re-narration of the first series of ‘Australian Idol,’ Australian Idol: The Winner’s Story aired on the Friday following the final night of the contest. The story of the newly crowned Idol, Guy Sebastian, was presented in an hour long program that showed his home life, his life as a voice teacher in the Adelaide suburbs and his subsequent journey to stardom. The clips depicting his life prior to ‘Idol’ were of ambiguous vintage, cleverly silent on the exact date of production; somehow they were not quite in the past or the future, but floated in some eternal in-between. When his ‘Australian Idol’ experience was chronicled, after the second commercial break, we were allowed to see an intimate portrait of an anxious contestant transformed into ‘Your Australian Idol.’ There could be no doubt of the virtue of Sebastian’s struggles, nor of his well-earned victory. ‘New’ footage began with the sudden sensation reluctantly commenting on other contestants at the original Adelaide cattle call at the prompting of the mobile camera crew and ended with his teary-eyed mother exultant at the final decision as she stood in the front row at the Opera House. Further, not only is the entire run of the first series dramatically recounted in documentary format on the Australian Idol: Greatest Moments DVD, framed by Sebastian’s humble triumph, so are the stories of each member of the Final 12 and the paths they took through the contest. These reiterations serve to reinforce not only Sebastian’s status, but the status of the program itself. They confirm the benevolent success of the industry it so dutifully profiles. We are taken behind the curtain, allowed to see the machinery of stardom grind inevitably to a conclusion, knowing we will be allowed back again when the time is right. Whereas ‘Idol’ is routinely pilloried for its crass commercialism, it remains an unavoidable success. Viewers keep tuning in, advertisers still clamour to sponsor all aspects of the production and the CDs keep selling. Most importantly, the music industry has a showcase for its own operations. The structures of feeling it exists to produce take on a kind of subtle explicitness that ensures their perpetuation. Within an industry faced with threats perceived to be foundational, the creators of ‘Idol’ have produced an audacious and arrogant spectacle. They have made a profitable virtue out of an economic necessity. The expensive and unpredictable process of finding and nurturing new talent has not only been made more reliable, but ‘Idol’ has shown that it can actually turn a profit. The brand of celebrity produced by Idol possesses no mere sheen of populist approval, but embodies that more valuable commodity: popular attention, however reluctant or enthusiastic it may be. References “Australian Idol.” Ten Network, Sydney, 14 July 2004. “Australian Idol: The Winner’s Story.” Ten Network, Sydney, 21 November 2003. Australian Idol: Greatest Moments. Fremantle Media Operations, 2004. Brody, E.W. “The ‘Attention’ Economy.” Public Relations Quarterly 46.3 (2001): 18-21. Davenport, T., and J. Beck. “The Strategy and Structure of Firms in the Attention Economy.” Ivey Business Journal 66.4 (2002): 49–55. Elliott, R., and N. Jankel-Elliott. “Using Ethnography in Strategic Consumer Research.” Qualitative Market Research 6.4 (2003): 215-23. Frank, Thomas. The Conquest of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism. Chicago: U of Chicago P, 1997. Gladwell, Malcolm. The Tipping Point: How Little Things Can Make a Big Difference. Boston: Back Bay Books, 2002. Godin, Seth. Unleashing the Ideavirus. New York: Hyperion, 2001. Henry, Amy. “How Buzz Marketing Works for Teens.” Advertising and Marketing to Children April-June (2003): 3-10. Lee, Julian. “Stealth Marketers Ready to Railroad the Unsuspecting.” Sydney Morning Herald 24-5 July 2004: 3. Maxwell, Ian. “True to the Music: Authenticity, Articulation and Authorship in Sydney Hip-Hop Culture.” Social Semiotics 4.1-2 (1994): 117–37. Negus, Keith. Music Genres and Corporate Cultures. London: Routledge, 1999. Negus, Keith. Producing Pop: Culture and Conflict in the Popular Music Industry. London: Edward Arnold, 1992. Rosen, Emanuel. The Anatomy of Buzz: How to Create Word of Mouth Marketing. London: Harper Collins, 2000. Stahl, Matthew. “A Moment like This: American Idol and Narratives of Meritocracy.” Bad Music: Music We Love to Hate. Eds. C. Washburne and M. Derno. New York: Routledge, 2004. 212–32. “Sydney Auditions: Conditions of Participation in the Australian Idol Audition.” Australian Idol Website 10 June 2004. http://au.australianidol.com.au>. Turner, G., F. Bonner, and P.D. Marshall. Fame Games: The Production of Celebrity in Australia. Cambridge: Cambridge UP, 2000. Citation reference for this article MLA Style Fairchild, Charles. "'Australian Idol' and the Attention Economy." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/09-fairchild.php>. APA Style Fairchild, C. (Nov. 2004) "'Australian Idol' and the Attention Economy," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/09-fairchild.php>.

Introduction The first “Aquarius Festival” came together in Canberra, at the Australian National University, in the autumn of 1971 and was reprised in 1973 in the small rural town of Nimbin, in northern New South Wales. Both events reflected the Zeitgeist in what was, in some ways, an inchoate expression of the so-called “counterculture” (Roszak). Rather than attempting to analyse the counterculture as a discrete movement with a definable history, I enlist the theory of cultural memes to read the counter culture as a Dawkinsian cluster meme, with this paper offered as “testimonio”, a form of quasi-political memoir that views shifts in the culture through the lens of personal experience (Zimmerman, Yúdice). I track an evolving personal, “internal” topography and map its points of intersection with the radical social, political and cultural changes spawned by the “consciousness revolution” that was an integral part of the counterculture emerging in the 1970s. I focus particularly on the notion of “consciousness raising”, as a Dawkinsian memetic replicator, in the context of the idealistic notions of the much-heralded “New Age” of Aquarius, and propose that this meme has been a persistent feature of the evolution of the “meme cluster” known as the counterculture. Mimesis and the Counterculture Since evolutionary biologist Richard Dawkins floated the notion of cultural memes as a template to account for the evolution of ideas within political cultures, a literature of commentary and criticism has emerged that debates the strengths and weaknesses of his proposed model and its application across a number of fields. I borrow the notion to trace the influence of a set of memes that clustered around the emergence of what writer Marilyn Ferguson called The Aquarian Conspiracy, in her 1980 book of that name. Ferguson’s text, subtitled Personal and Social Transformation in Our Time, was a controversial attempt to account for what was known as the “New Age” movement, with its late millennial focus on social and personal transformation. That focus leads me to approach the counterculture (a term first floated by Theodore Roszak) less as a definable historical movement and more as a cluster of aspirational tropes expressing a range of aspects or concerns, from the overt political activism through to experimental technologies for the transformation of consciousness, and all characterised by a critical interrogation of, and resistance to, conventional social norms (Ferguson’s “personal and social transformation”). With its more overtly “spiritual” focus, I read the “New Age” meme, then, as a sub-set of this “cluster meme”, the counterculture. In my reading, “New Age” and “counterculture” overlap, sharing persistent concerns and a broad enough tent to accommodate the serious—the combative political action of Students for a Democratic Society (SDS), say, (see Elbaum)—to the light-hearted—the sport of frisbee for example (Stancil). The interrogation of conventional social and political norms inherited from previous generations was a prominent strategy across both movements. Rather than offering a sociological analysis or history of the ragbag counterculture, per se, my discussion here focuses in on the particular meme of “consciousness raising” within that broader set of cultural shifts, some of which were sustained in their own right, some dropping away, and many absorbed into the dominant mainstream culture. Dawkins use of the term “meme” was rooted in the Greek mimesis, to emphasise the replication of an idea by imitation, or copying. He likened the way ideas survive and change in human culture to the natural selection of genes in biological evolution. While the transmission of memes does not depend on a physical medium, such as the DNA of biology, they replicate with a greater or lesser degree of success by harnessing human social media in a kind of “infectivity”, it is argued, through “contagious” repetition among human populations. Dawkins proposed that just as biological organisms could be said to act as “hosts” for replicating genes, in the same way people and groups of people act as hosts for replicating memes. Even before Dawkins floated his term, French biologist Jacques Monod wrote that ideas have retained some of the properties of organisms. Like them, they tend to perpetuate their structure and to breed; they too can fuse, recombine, segregate their content; indeed they too can evolve, and in this evolution selection must surely play an important role. (165, emphasis mine) Ideas have power, in Monod’s analysis: “They interact with each other and with other mental forces in the same brain, in neighbouring brains, and thanks to global communication, in far distant, foreign brains” (Monod, cited in Gleick). Emblematic of the counterculture were various “New Age” phenomena such as psychedelic drugs, art and music, with the latter contributing the “Aquarius” meme, whose theme song came from the stage musical (and later, film) Hair, and particularly the lyric that runs: “This is the dawning of the Age of Aquarius”. The Australian Aquarius Festivals of 1971 and 1973 explicitly invoked this meme in the way identified by Monod and the “Aquarius” meme resonated even in Australia. Problematising “Aquarius” As for the astrological accuracy of the “Age of Aquarius meme”, professional astrologers argue about its dating, and the qualities that supposedly characterise it. When I consulted with two prominent workers in this field for the preparation of this article, I was astonished to find their respective dating of the putative Age of Aquarius were centuries apart! What memes were being “hosted” here? According to the lyrics: When the moon is in the seventh house And Jupiter aligns with Mars Then peace will guide the planets And love will steer the stars. (Hair) My astrologer informants assert that the moon is actually in the seventh house twice every year, and that Jupiter aligns with Mars every two years. Yet we are still waiting for the outbreak of peace promised according to these astrological conditions. I am also informed that there’s no “real” astrological underpinning for the aspirations of the song’s lyrics, for an astrological “Age” is not determined by any planet but by constellations rising, they tell me. Most important, contrary to the aspirations embodied in the lyrics, peace was not guiding the planets and love was not about to “steer the stars”. For Mars is not the planet of love, apparently, but of war and conflict and, empowered with the expansiveness of Jupiter, it was the forceful aggression of a militaristic mind-set that actually prevailed as the “New Age” supposedly dawned. For the hippified summer of love had taken a nosedive with the tragic events at the Altamont speedway, near San Francisco in 1969, when biker gangs, enlisted to provide security for a concert performance by The Rolling Stones allegedly provoked violence, marring the event and contributing to a dawning disillusionment (for a useful coverage of the event and its historical context see Dalton). There was a lot of far-fetched poetic licence involved in this dreaming, then, but memes, according to Nikos Salingaros, are “greatly simplified versions of patterns”. “The simpler they are, the faster they can proliferate”, he writes, and the most successful memes “come with a great psychological appeal” (243, 260; emphasis mine). What could be retrieved from this inchoate idealism? Harmony and understanding Sympathy and trust abounding No more falsehoods or derisions Golden living dreams of visions Mystic crystal revelation And the mind’s true liberation Aquarius, Aquarius. (Hair) In what follows I want to focus on this notion: “mind’s true liberation” by tracing the evolution of this project of “liberating” the mind, reflected in my personal journey. Nimbin and Aquarius I had attended the first Aquarius Festival, which came together in Canberra, at the Australian National University, in the autumn of 1971. I travelled there from Perth, overland, in a Ford Transit van, among a raggedy band of tie-dyed hippie actors, styled as The Campus Guerilla Theatre Troupe, re-joining our long-lost sisters and brothers as visionary pioneers of the New Age of Aquarius. Our visions were fueled with a suitcase full of potent Sumatran “buddha sticks” and, contrary to Biblical prophesies, we tended to see—not “through a glass darkly” but—in psychedelic, pop-, and op-art explosions of colour. We could see energy, man! Two years later, I found myself at the next Aquarius event in Nimbin, too, but by that time I inhabited a totally different mind-zone, albeit one characterised by the familiar, intense idealism. In the interim, I had been arrested in 1971 while “tripping out” in Sydney on potent “acid”, or LSD (Lysergic acid diethylamide); had tried out political engagement at the Pram Factory Theatre in Melbourne; had camped out in protest at the flooding of Lake Pedder in the Tasmanian wilderness; met a young guru, started meditating, and joined “the ashram”—part of the movement known as the Divine Light Mission, which originated in India and was carried to the “West” (including Australia) by an enthusiastic and evangelical following of drug-toking drop-outs who had been swarming through India intent on escaping the dominant culture of the military-industrial complex and the horrors of the Vietnam War. Thus, by the time of the 1973 event in Nimbin, while other festival participants were foraging for “gold top” magic mushrooms in farmers’ fields, we devotees had put aside such chemical interventions in conscious awareness to dig latrines (our “service” project for the event) and we invited everyone to join us for “satsang” in the yellow, canvas-covered, geodesic dome, to attend to the message of peace. The liberation meme had shifted through a mutation that involved lifestyle-changing choices that were less about alternative approaches to sustainable agriculture and more about engaging directly with “mind’s true liberation”. Raising Consciousness What comes into focus here is the meme of “consciousness raising”, which became the persistent project within which I lived and worked and had my being for many years. Triggered initially by the ingestion of those psychedelic substances that led to my shocking encounter with the police, the project was carried forward into the more disciplined environs of my guru’s ashrams. However, before my encounter with sustained spiritual practice I had tried to work the shift within the parameters of an ostensibly political framework. “Consciousness raising” was a form of political activism borrowed from the political sphere. Originally generated by Mao Zedong in China during the revolutionary struggle to overthrow the vested colonial interests that were choking Chinese nationalism in the 1940s, to our “distant, foreign brains” (Monod), as Western revolutionary romantics, Chairman Mao and his Little Red Book were taken up, in a kind of international counterculture solidarity with revolutionaries everywhere. It must be admitted, this solidarity was a fairly superficial gesture. Back in China it might be construed as part of a crude totalitarian campaign to inculcate Marxist-Leninist political ideas among the peasant classes (see Compestine for a fictionalised account of traumatic times; Han Suyin’s long-form autobiography—an early example of testimonio as personal and political history—offers an unapologetic account of a struggle not usually construed as sympathetically by Western commentators). But the meme (and the processes) of consciousness raising were picked up by feminists in the United States in the late 1960s and into the 1970s (Brownmiller 21) and it was in this form I encountered it as an actor with the politically engaged theatre troupe, The Australian Performing Group, at Carlton’s Pram Factory Theatre in late 1971. The Performance Group I performed as a core member of the Group in 1971-72. Decisions as to which direction the Group should take were to be made as a collective, and the group veered towards anarchy. Most of the women were getting together outside of the confines of the Pram Factory to raise their consciousness within the Carlton Women’s Liberation Cell Group. While happy that the sexual revolution was reducing women’s sexual inhibitions, some of the men at the Factory were grumbling into their beer, disturbed that intimate details of their private lives—and their sexual performance—might be disclosed and raked over by a bunch of radical feminists. As they began to demand equal rights to orgasm in the bedroom, the women started to seek equal access within the performance group, too. They requested rehearsal time to stage the first production by the Women’s Theatre Group, newly formed under the umbrella of the wider collective. As all of the acknowledged writers in the Group so far were men—some of whom had not kept pace in consciousness raising—scripts tended to be viewed as part of a patriarchal plot, so Betty Can Jump was an improvised piece, with the performance material developed entirely by the cast in workshop-style rehearsals, under the direction of Kerry Dwyer (see Blundell, Zuber-Skerritt 21, plus various contributors at www.pramfactory.com/memoirsfolder/). I was the only male in the collective included in the cast. Several women would have been more comfortable if no mere male were involved at all. My gendered attitudes would scarcely have withstood a critical interrogation but, as my partner was active in launching the Women’s Electoral Lobby, I was given the benefit of the doubt. Director Kerry Dwyer liked my physicalised approach to performance (we were both inspired by the “poor theatre” of Jerzy Grotowski and the earlier surrealistic theories of Antonin Artaud), and I was cast to play all the male parts, whatever they would be. Memorable material came up in improvisation, much of which made it into the performances, but my personal favorite didn’t make the cut. It was a sprawling movement piece where I was “born” out of a symbolic mass of writhing female bodies. It was an arduous process and, after much heaving and huffing, I emerged from the birth canal stammering “SSSS … SSSS … SSMMMO-THER”! The radical reversioning of culturally authorised roles for women has inevitably, if more slowly, led to a re-thinking of the culturally approved and reinforced models of masculinity, too, once widely accepted as entirely biologically ordained rather than culturally constructed. But the possibility of a queer re-versioning of gender would be recognised only slowly. Liberation Meanwhile, Dennis Altman was emerging as an early spokesman for gay, or homosexual, liberation and he was invited to address the collective. Altman’s stirring book, Homosexual: Oppression and Liberation, had recently been published, but none of us had read it. Radical or not, the Group had shown little evidence of sensitivity to gender-queer issues. My own sexuality was very much “oppressed” rather than liberated and I would have been loath to use “queer” to describe myself. The term “homosexual” was fraught with pejorative, quasi-medical associations and, in a collective so divided across strict and sometimes hostile gender boundaries, deviant affiliations got short shrift. Dennis was unsure of his reception before this bunch of apparent “heteros”. Sitting at the rear of the meeting, I admired his courage. It took more self-acceptance than I could muster to confront the Group on this issue at the time. Somewhere in the back of my mind, “homosexuality” was still something I was supposed to “get over”, so I failed to respond to Altman’s implicit invitation to come out and join the party. The others saw me in relationship with a woman and whatever doubts they might have carried about the nature of my sexuality were tactfully suspended. Looking back, I am struck by the number of simultaneous poses I was trying to maintain: as an actor; as a practitioner of an Artaudian “theatre of cruelty”; as a politically committed activist; and as a “hetero”-sexual. My identity was an assemblage of entities posing as “I”; it was as if I were performing a self. Little gay boys are encouraged from an early age to hide their real impulses, not only from others—in the very closest circle, the family; at school; among one’s peers—but from themselves, too. The coercive effects of shaming usually fix the denial into place in our psyches before we have any intellectual (or political) resources to consider other options. Growing up trying to please, I hid my feelings. In my experience, it could be downright dangerous to resist the subtle and gross coercions that applied around gender normativity. The psychoanalyst D. W. Winnicott, of the British object-relations school, argues that when the environment does not support the developing personality and requires the person to sacrifice his or her own spontaneous needs to adapt to environmental demands, there is not even a resting-place for individual experience and the result is a failure in the primary narcissistic state to evolve an individual. The “individual” then develops as an extension of the shell rather than that of the core [...] What there is left of a core is hidden away and is difficult to find even in the most far-reaching analysis. The individual then exists by not being found. The true self is hidden, and what we have to deal with clinically is the complex false self whose function is to keep this true self hidden. (212) How to connect to that hidden core, then? “Mind’s true liberation...” Alienated from the performative version of selfhood, but still inspired by the promise of liberation, even in the “fuzzy” form for which my inchoate hunger yearned (sexual liberation? political liberation? mystical liberation?), I was left to seek out a more authentic basis for selfhood, one that didn’t send me spinning along the roller-coaster of psychedelic drugs, or lie to me with the nostrums of a toxic, most forms of which would deny me, as a sexual, moral and legal pariah, the comforts of those “anchorage points to the social matrix” identified by Soddy (cited in Mol 58). My spiritual inquiry was “counter” to these institutionalised models of religious culture. So, I began to read my way through a myriad of books on comparative religion. And to my surprise, rather than taking up with the religions of antique cultures, instead I encountered a very young guru, initially as presented in a simply drawn poster in the window of Melbourne’s only vegetarian restaurant (Shakahari, in Carlton). “Are you hungry and tired of reading recipe books?” asked the figure in the poster. I had little sense of where that hunger would lead me, but it seemed to promise a fulfilment in ways that the fractious politics of the APG offered little nourishment. So, while many of my peers in the cities chose to pursue direct political action, and others experimented with cooperative living in rural communes, I chose the communal lifestyle of the ashram. In these different forms, then, the conscious raising meme persisted when other challenges raised by the counterculture either faded or were absorbed in the mainstream. I finally came to realise that the intense disillusionment process I had been through (“dis-illusionment” as the stripping away of illusions) was the beginning of awakening, in effect a “spiritual initiation” into a new way of seeing myself and my “place” in the world. Buddhist teachers might encourage this very kind of stripping away of false notions as part of their teaching, so the aspiration towards the “true liberation” of the mind expressed in the Aquarian visioning might be—and in my case, actually has been and continues to be—fulfilled to a very real extent. Gurus and the entire turn towards Eastern mysticism were part of the New Age meme cluster prevailing during the early 1970s, but I was fortunate to connect with an enduring set of empirical practices that haven’t faded with the fashions of the counterculture. A good guitarist would never want to play in public without first tuning her instrument. In a similar way, it is now possible for me to tune my mind back to a deeper, more original source of being than the socially constructed sense of self, which had been so fraught with conflicts for me. I have discovered that before gender, and before sexuality, in fact, pulsing away behind the thicket of everyday associations, there is an original, unconditioned state of beingness, the awareness of which can be reclaimed through focused meditation practices, tested in a wide variety of “real world” settings. For quite a significant period of time I worked as an instructor in the method on behalf of my guru, or mentor, travelling through a dozen or so countries, and it was through this exposure that I was able to observe that the practices worked independently of culture and that “mind’s true liberation” was in many ways a de-programming of cultural indoctrinations (see Marsh, 2014, 2013, 2011 and 2007 for testimony of this process). In Japan, Zen roshi might challenge their students with the koan: “Show me your original face, before you were born!” While that might seem to be an absurd proposal, I am finding that there is a potential, if unexpected, liberation in following through such an inquiry. As “hokey” as the Aquarian meme-set might have been, it was a reflection of the idealistic hope that characterised the cluster of memes that aggregated within the counterculture, a yearning for healthier life choices than those offered by the toxicity of the military-industrial complex, the grossly exploitative effects of rampant Capitalism and a politics of cynicism and domination. The meme of the “true liberation” of the mind, then, promised by the heady lyrics of a 1970s hippie musical, has continued to bear fruit in ways that I could not have imagined. References Altman, Dennis. Homosexual Oppression and Liberation. Sydney: Angus & Robertson, 1972. Blundell, Graeme. The Naked Truth: A Life in Parts. Sydney: Hachette, 2011. Brownmiller, Susan. In Our Time: Memoir of a Revolution. New York: The Dial Press, 1999. Compestine, Ying Chang. Revolution Is Not a Dinner Party. New York: Square Fish, 2009. Dalton, David. “Altamont: End of the Sixties, Or Big Mix-Up in the Middle of Nowhere?” Gadfly Nov/Dec 1999. April 2014 ‹http://www.gadflyonline.com/archive/NovDec99/archive-altamont.html›. Dawkins, Richard. The Selfish Gene. Oxford: Oxford UP, 1976. Elbaum, Max. Revolution in the Air: Sixties Radicals Turn to Lenin, Mao and Che. London and New York: Verso, 2002. Ferguson, Marilyn. The Aquarian Conspiracy. Los Angeles: Tarcher Putnam, 1980. Gleick, James. “What Defines a Meme?” Smithsonian Magazine 2011. April 2014 ‹http://www.smithsonianmag.com/arts-culture/What-Defines-a Meme.html›. Hair, The American Tribal Love Rock Musical. Prod. Michael Butler. Book by Gerome Ragni and James Rado; Lyrics by Gerome Ragni and James Rado; Music by Galt MacDermot; Musical Director: Galt MacDermot. 1968. Han, Suyin. The Crippled Tree. 1965. Reprinted. Chicago: Academy Chicago P, 1985. ---. A Mortal Flower. 1966. Reprinted. Chicago: Academy Chicago P, 1985. ---. Birdless Summer. 1968. Reprinted. Chicago: Academy Chicago P, 1985. ---. The Morning Deluge: Mao TseTung and the Chinese Revolution 1893-1954. Boston: Little Brown, 1972. ---. My House Has Two Doors. New York: Putnam, 1980. Marsh, Victor. The Boy in the Yellow Dress. Melbourne: Clouds of Magellan Press, 2014. ---. “A Touch of Silk: A (Post)modern Faerie Tale.” Griffith Review 42: Once Upon a Time in Oz (Oct. 2013): 159-69. ---. “Bent Kid, Straight World: Life Writing and the Reconfiguration of ‘Queer’.” TEXT: Journal of Writing and Writing Courses 15.1 (April 2011). ‹http://www.textjournal.com.au/april11/marsh.htm›. ---. “The Boy in the Yellow Dress: Re-framing Subjectivity in Narrativisations of the Queer Self.“ Life Writing 4.2 (Oct. 2007): 263-286. Mol, Hans. Identity and the Sacred: A Sketch for a New Social-Scientific Theory of Religion. Oxford: Blackwell, 1976. Monod, Jacques. Chance and Necessity: An Essay on the Natural Philosophy of Modern Biology. New York: Alfred A. Knopf, 1970. Roszak, Theodore. The Making of a Counter Culture: Reflections on the Technocratic Society and Its Youthful Opposition. New York: Doubleday, 1968. Salingaros, Nikos. Theory of Architecture. Solingen: Umbau-Verlag, 2006. Stancil, E.D., and M.D. Johnson. Frisbee: A Practitioner’s Manual and Definitive Treatise. New York: Workman, 1975 Winnicott, D.W. Through Paediatrics to Psycho-Analysis: Collected Papers. 1958. London: Hogarth Press, 1975. Yúdice, George. “Testimonio and Postmodernism.” Latin American Perspectives 18.3 (1991): 15-31. Zimmerman, Marc. “Testimonio.” The Sage Encyclopedia of Social Science Research Methods. Eds. Michael S. Lewis-Beck, Alan Bryman and Tim Futing Liao. London: Sage Publications, 2003. Zuber-Skerritt, Ortrun, ed. Australian Playwrights: David Williamson. Amsterdam: Rodolpi, 1988.

Cette thèse porte sur l’horticulture, sur les relations aux plantes et sur les représentations du vivant et de la vie au Japon. Elle rend compte d’une ethnographie conduite auprès de deux groupes de cultivateurs du bassin urbain d’Ōsaka (2013-2017) : des bénévoles dans une association cultivant une espèce de glycine (Wisteria floribunda) dans l’arrondissement de Fukushima à Ōsaka, et des producteurs professionnels cultivant des Prunus (pruniers, pêchers, cerisiers) dans le secteur de Higashino à Itami. Afin de « faire fleurir » (sakaseru) ces plantes emblématiques de leurs quartiers respectifs, ces cultivateurs pratiquent une horticulture traditionnelle caractérisée par un intense façonnage de chaque plante et par une savante mise en scène des floraisons. Cependant, l’irruption de phénomènes contrariants tels que la non-floraison ou la maladie (en l’occurrence, une maladie à virus des Prunus) remet en question un contrôle des plantes par la technique que l’on tenait pour acquis. Les cultivateurs sont amenés à modifier leurs pratiques, ainsi que leurs manières d’apprécier les plantes. Ces actions, ces mesures et les inférences qui s’y expriment sont autant d’occasions de s’interroger sur le fonctionnement et le statut des plantes. L’objectif de cette thèse est double. D’une part, produire une ethnographie de l’horticulture japonaise, notamment par la description des modes de sociabilité et des actions techniques observés sur le terrain. D’autre part, dans le cadre d’une « anthropologie de la vie » attachée aux manipulations concrètes d’êtres vivants à la fois organismes et artefacts, tenter de saisir les conceptions de la vie et du vivant, dans des contextes de célébration par la fête comme lors d’un plan phytosanitaire
This Phd thesis is about horticulture, relations to plants, human relations around plants, and conceptions of life and living things in Japan. It presents an ethnographic fieldwork conducted among two groups of cultivators in the Ōsaka metropolitan area (2013-2017): volunteers cultivating a wisteria (Wisteria floribunda) in the Fukushima district of Ōsaka, and professional producers growing plum, peach and cherry in the Higashino neighborhood in Itami. In order to monitor these emblematic plants to “bloom” (sakaseru), the cultivators practice traditional horticultural characterized by a fastidious shaping of each plant, and they skillfully display the flowers. However, upsetting events such as lack of bloom or the outbreak of a plant disease (specifically a plum virus) put into question a technical control of plants that was taken for granted. Cultivators are led to modify their practices, and also the way they of appreciate the plants. These actions and assessments lead to inferences, allowing to question the status of plants, and how they work. There are two main purposes in this research. On the one hand, an ethnography of Japanese horticulture, focusing on a description of local social life and the technical actions observed during fieldwork. On the other hand, drawing on an "anthropology of life" engaged with the concrete manipulations of living beings that are both organisms and artefacts, the aim is to grasp the conceptions of life and living things, may that be a flower festival or part of a phytosanitary plan

Chapter one describes “The Quandary Over Plant Sex” in its historical context. The sexual role of pollen wasn’t discovered until the late 17th century, suggesting a deep cultural bias. Beliefs concerning sex in humans, from Galen and Aristotle onward, were influenced by gender ideology. The lower social status of women suggested a one-sex model, whereby female character and physiology were construed as deficient versions of the male. Plants, because of their association with women, came to be regarded as female. Flowers are often emblematic of women in literature, but flowers seem to produce fruits without carnality, by parthenogenesis. In paintings of the Annunciation, the lily appears almost as regularly as the angel Gabriel as a symbol of Mary’s purity. The association of flowers with female purity hindered the discovery of sex in plants. Although most people are aware of pollen, widespread confusion about its role in sexual reproduction still lingers.