Journal articles on the topic 'Exercice passif'

A B S T R A C TPhysical exercise causes athletes to be at risk of injury. One of the most common muscle injuries is Delayed Onset Muscle Soreness (DOMS). DOMS is a pain felt by a person within 24-72 hours after sports activities. Active recovery is a physical activity that do in low intensity. Passive recovery means stop activity and not doing anything or total rest. This research is expected to find the type effective and efficient recovery in reducing DOMS symptoms. The type of this research is quasi experiment with the three group post-control group design. The sample is a student of Faculty of Sport Science State University of Padang which is divided into 3 groups. Each group consists of 15 students. Each Sample will perform an eccentric physical exercise by squatting 10 sets (1set: 20 steps) with a break for 30 seconds each set. After exercie group 1 didn’t do recovery, group 2 did a passive recovery and group 3 did active recovery. After 48 hours, DOMS measurements were made using Visual Analog Scale (VAS). Research data is tabulated and analyzed with descriptive statistic test, distribution normality test, homogeneity test, different test. Result of data analysis concluded there is effect of active recovery to DOMS symptom with p 0,005. There is no effect of passive recovery of DOMS symptoms with p 0, 180. Conclusion active recovery research can reduce DOMS symptoms.

Article represents passive diathesis which is one of many kinds and function of grammatical analysis. Passive diathesis or mostly known as passive voice is usually used to show a relation between the speaker and his view on something. In Japanese, passive diathesis is divided in three parts such as, kihon teki na ukemi (basic passive voice), mochi mushi ukemi (belonging passive voice), higai no ukemi (loss passive voice), and hijou no ukemi (neutral passive voice). Each passive voice in Japanese has different function and meaning, therefore in teaching Japanese language it should take more exercise and example in order to be more complete and comprehensive.

This study aims to analyze the strength of muscle strength in patients with non-hemorrhagic stroke with hemiparese through Passive Range of Motion (ROM) exercises at Bengkulu Curup Hospital 2019. This research method uses the Quasi Experiment design of the pre and post test designs. The results of this study indicate the average value of pre-test and post-test muscle strength. increased in the intervention group and no increase in the control group. significant value (p = 0.008) in the intervention group and (p = 0.5) in the control group. Conclusion, there is the effect of Range of Motion exercise on the muscle strength of non-hemorrhagic stroke patients at ICU Curup General Hospital in 2019. Keywords: Muscle Strength, Range Of Motion (ROM) Exercise

This study aims to compare the effectiveness of unilateral ROM and bilateral ROM exercises to increase muscle strength in post-hospitalized clients with hemiparesis due to ischemic stroke. The research method used is a quasi experimental two group pre and post test design. The results showed that there was an effect of both groups on increasing muscle strength with a p-value of 0.000, in conclusion, bilateral ROM exercises had a higher impact on increasing muscle strength compared to unilateral ROM exercises. Keywords: Muscle Strength, Bilateral ROM, Unilateral ROM, Ischemic Stroke

Osteoartritis merupakan suatu penyakit sendi degeneratif yang terjadi karena proses inflamasi kronis pada sendi dan tulang sekitar sendi. Salah satu penatalaksanaan non Farmakologi yaitu dengan stretching exercise. Stretching Exercise dapat mengurangi nyeri sendi lutut dengan mengunakan tekhnik latihan gerakan tubuh baik secara aktif maupun pasif. Tujuan penelitian untuk mengetahui Pengaruh Stretching Exercise Terhadap Penurunan Skala Nyeri Sendi Lutut pada Pasien Osteoartritis. Jenis penelitian adalah pra eksperiment dengan pretest and postest one group design. Penelitian dilaksanakan Di Puskesmas Kota Selatan Kota Gorontalo. Populasi seluruh pasien Osteoartritis di Puskesmas Kota Selatan Kota Gorontalo dengan Jumlah sampel yang diperoleh dari tekhnik accidental sampling. Hasil penelitian menunjukkan bahwa terdapat pengaruh stretching exercise terhadap penurunan skala nyeri sendi lutut pada pasien Osteoartritis dengan p-value (0,000) ? (0,05). Saran diharapkan agar terapi ini dapat diberikan dalam upaya pencegahan serta penanganan nyeri sendi lutut atau gangguan muskuloskeletal.

Le but premier de l'école n'est ni de transmettre des connaissances, ni de dresser l'enfant à l'objectivité en restant passif, mais de favoriser son développement et son intelligence en lui fournissant les moyens de penser, de réfléchir, bref de s'étonner en classe. La pédagogie de l'étonnement est parmi les pédagogies actives dont le pionnier est Louis Legrand. Etonner l'apprenant, c'est le déstabiliser et le mettre dans une situation dans laquelle ses connaissances et croyances seront mises en cause, l'engageant ainsi dans la recherche de nouvelles connaissances. Notre étude est de nature descriptive qui porte sur l'enseignement des mathématiques à des élèves de CM1 et CM2 au Maroc. Les résultats montrent que les problèmes proposés aux apprenants représentent plutôt des exercices d'application des règles « apprises » et d'une imitation stricto sensu de l'enseignant sans faire appel à une recherche de sens dû au manque de sollicitation de toute curiosité et de stimulation de leur intelligence.

Dans le cadre des travaux pratiques d’automatique en première année à Télécom Physique Strasbourg, nous avons conçu une carte électronique unique permettant la réalisation d’une large gamme de correcteurs pour l’asservissement continu sur des systèmes divers : moteur, système de chauffage, lévitation magnétique. La carte est constituée de trois circuits d’entrée permettant l’implémentation d’un filtre du premier ordre, de quatre modules correcteurs constitués chacun d’un compensateur à avance-retard de phase, d’un additionneur et d’un soustracteur, ainsi que de trois sorties. Cette maquette permet aux étudiants de réaliser facilement différents asservissements en interconnectant les blocs entre eux et en ajustant les valeurs de composants passifs (résistances et condensateurs) de sorte à obtenir les fonctions de transfert calculées en préparation. L’utilisation de la maquette est illustrée dans cet article sur l’un des exercices de TP : l’asservissement en position d’une bille magnétique.

Open-source technologies (OSINT) are becoming increasingly popular with investigative and government agencies, intelligence services, media companies, and corporations [22]. These OSINT technologies use sophisticated techniques and special tools to analyze the continually growing sources of information efficiently [17]. There is a great need for professional training and further education in this field worldwide. After having already presented the overall structure of a professional training concept in this field in a previous paper [25], this series of articles offers individual further training modules for the worldwide standard state-of-the-art OSINT tools. The modules presented here are suitable for a professional training program and an OSINT course in a bachelor’s or master’s computer science or cybersecurity study at a university. In part 1 of a series of 4 articles, the OSINT tool RiskIQ Passiv-Total [26] is introduced, and its application possibilities are explained using concrete examples. In part 2 the OSINT tool Censys is explained [27]. This part 3 deals with Maltego [28] and Part 4 compares the 3 different tools of Part 1-3 [29].

Abstrak: Penelitian ini bertujuan untuk mendeskripsikan analisis aktivitas dan hasil belajar ditinjau dari tipologi belajar siswa. Berdasarkan hasil analisis dapat disimpulkan: (1) Tipologi belajar dari 32 siswa terdapat 12 siswa tipe belajar visual, 11 siswa tipe belajar auditorial dan 7 siswa tipe belajar kinestetik. (2) Memperhatikan penjelasan guru, mengerjakan soal atau latihan serta mencatat hal-hal yang dianggap penting didominasi oleh siswa tipe belajar visual. Bertanya, dan menjawab didominasi oleh siswa tipe belajar auditorial. Sedangkan siswa yag bertipe kinestetik cenderung pasif. (3) Hasil belajar siswa cukup rendah, dari 32 hanya 6 siswa yang lulus.Abstract: This study aims to describe the analysis of activity and learning outcomes in terms of student learning typology. Based on the results of the analysis can be concluded: (1) Typology of learning from 32 students there are 12 students of visual learning type, 11 students of auditorial learning type and 7 students of kinesthetic learning type. (2) Taking into account the teacher's explanations, working on problems or exercises and noting the things that are considered important are dominated by students of visual learning types. Ask, and answer is dominated by students of auditorial learning type. While kinesthetic-type students tend to be passive. (3) Student learning outcomes are quite low, out of 32 only 6 students graduated.

French cartoonist and filmmaker Joann Sfar has often used the comics medium to reflect on visual representation. His latest bande dessinée, Chagall en Russie ['Chagall in Russia'] (2010-2011), continues some of the meta-pictural elements previously found in his Pascin (2000-2002), which already featured Chagall in several episodes, as well as his acclaimed series, The Rabbi's Cat, where Sfar introduced the character of an anonymous Russian painter, whose biography and artistic stance seemingly referred to that of Marc Chagall. Although Chagall en Russie explicitly refers to the real-life Franco-Russian modernist painter, it is certainly not a standard biographical exercise. By offering a synthetic and often symbolic version of personal and historical events experienced by Chagall, Sfar takes certain liberties with the painter's life story as it was outlined by the artist (in My Life, his 1922 autobiography) and by many biographers and art historians. Sfar does not seek an authentic depiction of his subject's verifiable life journey, but rather views it through a metaphorical narrative, which is itself inspired by Chagall's artistic universe and raises questions about the figurative possibilities of comics.

AbstrakPenelitian ini bertujuan untuk mendeskripsikan dan memperoleh informasi tentang kegiatan pembelajaran menulis deskriptif pada mata pelajaran bahasa Inggris oleh siswa lamban belajar di kelas X SMA Budi Waluyo. Penelitian ini menggunakan pendekatan kualitatif dengan metode etnografi. Penelitian ini dilakukan di SMA Budi Waluyo, Jalan Cisanggiri III, Kebayoran Baru, Jakarta Selatan. Data penelitian ini diperoleh melalui observasi (pengamatan), wawancara, dan studi dokumentasi. Data dianalisis menggunakan model analisis Spradley, terdiri atas analisis domain, taksonomi, komponen, dan tema budaya. Hasil penelitian ini menunjukkan bahwa 1) menguasai keterampilan dasar menulis dan dapat menulis atau mengarang sebuah teks deskriptif yang sederhana dalam bahasa Inggris dengan baik dan benar menjadi tujuan pembelajaran menulis; 2) materi yang ada dalam buku teks (pokok) dan tata bahasa (grammar) adalah materi yang digunakan guru dalam pembelajaran; 3) metode pembelajaran berbasis struktural, ceramah, pemberian tugas, dan latihan; 4) media pembelajaran berbasis fasilitas sekolah dan kreativitas guru; 5) peran guru mendominasi aktivitas pembelajaran dan siswa cenderung pasif, menunggu perintah guru, 6) evaluasi proses dan hasil.Kata kunci: pembelajaran menulis deskritif, siswa lamban belajarAbstractThe objective of this research is to obstain information and to describe English descriptive writing instruction conducted at the 10th year-slow learner students of Budi Waluyo Senior High School of Jakarta. It used qualitative approach and the ethnographic research method. It was held at Budi Waluyo Senior High School located at Cisanggiri Street, Kebayoran Baru, South Jakarta. The data were collected through observation, interview, and document analysis. The data were analyzed based on Spradley’’s terms, which were domains, taxonomic, componential analyis, and cultural themes analysis. Based on the finding of the research, it concluded that (1) the goal of the writing instruction was students had an ability to write or compose a simple descriptive text, make some functional simple texts in English, and had a basic writing skill; (2) the teacher used material instruction from a textbook that was suggested in curriculum; (3) the use of method was structural bases learning, lectures, assignments, and exercises; (4) the use of media was black/whiteboard, electronic media, picture, photograph, direct object, and school facility bases; (5) the role of teacher dominated all the instruction activity and students waiting teacher’s order (passive student) in the learning process, (6) the evaluation used process and result evaluation.Keywords: English writing instruction, slow learner

Large first year undergraduate courses have unique challenges in the promotion of student engagement and self-directed learning due to resource constraints that prohibit small group discussions with instructors. The Monthly Virtual Mystery was developed to increase student engagement in a large (N = 725) first year undergraduate class in anthropology at the University of Toronto Mississauga. The teaching challenge was to develop a participation component (worth 6% of the final grade) that would increase student engagement without incurring any additional resource costs. The goal of the virtual mystery was to incorporate the principles of problem-based learning to engage students in self-directed learning through an online medium. Groups of approximately 50 students collaborated on a series of “virtual” case studies in a discussion board. Students submitted comments or questions each week to identify the information they needed to solve the mystery. A facilitator oversaw the discussion board to guide students in collaboration and resource acquisition. The final grades of students who participated in the virtual mystery (N=297) were compared to students who participated in a passive online learning exercise that involved watching weekly online videos and answering questions in a course reader (N = 347). Student self-selection determined group participation. Participation completion for both the virtual mystery and the course reader were high (78.8% and 91.6% respectively). There were no significant differences in the distribution of final grades between the participation options. The high completion rate of the virtual mystery demonstrated that an active learning project can be implemented using problem-based learning principles through an online discussion board; however, the large online group collaborations were problematic. Students were frustrated with repetition and inequitable participation in such large groups; however, students evaluated the monthly mystery as a valuable learning tool that engaged them through the practical nature of the case scenarios. Au premier cycle, les grandes classes de première année présentent des défis uniques en ce qui concerne la promotion de la participation de l’étudiant et de l’apprentissage autonome en raison des contraintes au niveau des ressources qui empêchent les discussions par petits groupes avec des instructeurs. Le Monthly Virtual Mystery (Le mystère virtuel mensuel) a été créé afin d’améliorer la participation des étudiants dans les très grandes classes (N = 725) d’anthropologie de première année, au premier cycle, à l’Université de Toronto Mississauga. Ce défi en matière d’enseignement avait pour but de développer une composante de participation (qui valait 6 % de la note finale) qui allait permettre d’augmenter la participation des étudiants sans que cela entraîne des coûts supplémentaires en ressources. L’objectif du mystère virtuel était d’incorporer les principes de l’apprentissage par problèmes afin d’engager les étudiants dans un apprentissage autonome grâce à un support en ligne. Des groupes d’environ 50 étudiants ont collaboré à une série d’études de cas « virtuelles » dans un forum de discussion. Les étudiants ont envoyé chaque semaine des commentaires ou des questions afin d’identifier les renseignements dont ils avaient besoin pour résoudre le mystère. Un animateur contrôlait le forum de discussion afin de guider les étudiants dans leur collaboration et leur acquisition des ressources. Les notes finales des étudiants qui avaient participé au mystère virtuel (N = 297) ont été comparées à celles des étudiants qui avaient participé à un exercice d’apprentissage passif en ligne qui consistait à regarder des vidéos hebdomadaires en ligne et à répondre à des questions figurant dans un recueil des textes du cours (N = 347). L’auto-sélection des étudiants avait déterminé la participation aux groupes. La participation, tant pour le mystère virtuel que pour le recueil des textes du cours, a été très élevée (78,8 % et 91,6 % respectivement). Aucune différence significative n’a été notée entre les deux options de participation en ce qui concerne la répartition des notes finales. Le taux de réussite élevé du mystère virtuel a montré qu’un projet d’apprentissage actif peut être mis en place si on utilise les principes de l’apprentissage par problèmes dans un forum de discussion en ligne. Toutefois, les collaborations de grands groupes en ligne ont posé quelques problèmes : les étudiants se sont sentis frustrés par la répétition et la participation inéquitable dans de tels grands groupes. Pourtant, les étudiants ont évalué le mystère mensuel comme un outil d’apprentissage utile qui leur a permis de participer grâce à la nature pratique des scénarios des études de cas.

Abstract: Fracture, Hold-Relax, stretching Passive, LGS Knee And Pain. Handling fracture is divided into three stages, namely (1) returns the position of the bone, (2) the installation of immobilization and (3) returns a function (rehabilitation). To restore the position of the bones in the anatomical shape/reduction and installation imibilisasi, generally carried out operative measures. As a result of operative measures will cause swelling and pain. The pain that there will be increased when the joints around the fracture are moved. For protection, it will automatically happen increasing muscle tension (muscle spasm). That impact will be an increase in pain and decreased range of motion/ LGS. Postoperative problems can be minimized by measures such as physiotherapy exercises. The design of the study using two group pre-test and post-test design, hold group relaxes and passive stretching every 16 subjects, each treatment dose groups of 10 repetitions, three times a series of exercises given 2 times/day for 2 consecutive days. Conclusion: (1) exercise hold relax and stretching passive muscle quadriceps effect on pain reduction and improvement LGS knee flexion, (2) the exercise hold relax effect is better than stretching exercises passive muscle quadriceps against a decrease in pain and improvement LGS knee flexion in patients with post ORIF because the third femur fractures or fractures of the tibia below the upper third.

Abstrak Stroke merupakan gangguan fungsi saraf akut yang disebabkan oleh gangguan peredaran darah otak. Efek dari penyakit ini tidak hanya berdampak pada pasien tetapi juga keluarga dan lingkungan sekitarnya. Tujuan penelitian ini untuk mengembangkan model latihan gerak pasif–aktif yang efektif terhadap peningkatan aktivitas fungsional anggota gerak yang mengalami kelumpuhan pada pasien stroke di RSUD Kabupaten Cilacap. Rancangan penelitian menggunakan eksperimen semu pada bulan Maret 2017. Subyek penelitian ini adalah pasien stroke berjumlah 40 orang, terdiri dari 20 pasien stroke rawat jalan di RSUD Cilacap sebagai kelompok coba dan 20 pasien stroke rawat jalan di RSI Fatimah Cilacap sebagai kelompok kontrol. Intervensi berupa latihan gerak pasif-aktif yang dikembangkan sebelumnya untuk meningkatkan aktivitas fungsional yang diukur dengan Indeks Barthel. Analisis data menggunakan uji t. Pengaruh latihan gerak pasif-aktif dengan menggunakan buku panduan dan audio visual latihan stroke terbukti efektif diterapkan dalam pelayanan rehabilitasi di fasilitas kesehatan, peningkatkan hasil aktivitas fungsional tersebut diukur mengunakan Indeks Barthel. Kata kunci: stroke, pasif-aktif, Indeks Barthel Abstract Stroke is acute nervous function disorder caused by brain circulatory disorders. The effects of this disease not only affect the patient but also the family and the surrounding environment. The purpose of this study was to develop an effective passive-active motion training model for increasing functional activity of limbs who experienced paralysis in stroke patients in Cilacap District Hospital. The research design used a quasi-experimental in March 2017. The subjects of this study were 40 stroke patients, consisting of 20 outpatient stroke patients in Cilacap Regional Hospital as the trial group and 20 outpatient stroke patients at Fatimah Cilacap Hospital as the control group. Interventions in the form of passive-active motion exercises that were developed previously to increase functional activity as identified by the Barthel Index. Data analysed using t test. The effect of passive-active motion examined by using a guide book and audio visual stroke exercises had effectively proved in rehabilitative health service facility, the improvement of functional activity results was examined using Barthel Index. Keywords: stroke, passive-active, Barthel Index

Espectros que nos remetem ao passado assustam nosso cotidiano – uma mortífera pandemia, a destruição dos direitos sociais e trabalhistas conquistados com muita luta, o retorno de milhões à miséria, a ampliação da dependência nacional e um governo irresponsável. Ocorre agora no mundo e, em particular, no Brasil, a radicalização extremada do neoliberalismo da década de 1980. Pior, a direita ultraneoliberal, que atualmente comanda esta pauta, conseguiu destruir a capacidade do Estado de acudir a sociedade – onde há tentativas de enfrentamento da pandemia, fica-se à mercê de multinacionais farmacêuticas que estabelecem preços e prazos ou fixam as regras de aprovação das vacinas. Como diz o sociólogo Boaventura de Sousa Santos, os ultraneoliberais usam a ficção da crise financeira permanente para explicar os cortes nas políticas sociais e a degradação dos salários, mas seus objetivos vão bem mais longe – legitimar a escandalosa concentração de riqueza e espoliar o planeta, pouco importando a catástrofe ecológica grave e iminente. Antes da pandemia, o Brasil já afundava no desemprego e na crise política e econômica, alimentada pelos golpistas das operações de espionagem, lawfare, impeachment e fraude jurídico-eleitoral desenvolvidas entre 2013 e 2018. Ao mesmo tempo, sob o pretexto do avanço tecnológico, promovia-se a economia da precarização e da uberização. Desde o início da pandemia, tal processo foi intencionalmente acelerado. Sabemos que, apesar do governo brasileiro, a pandemia também será vencida aqui, ainda que custe centenas de milhares de vidas que poderiam ter sido poupadas. Mas, nada era ou será normal. A crise continuará e só há solução para a maioria da sociedade se a extrema-direita e a direita ultraneoliberal deixarem o poder. Contudo, para haver futuro é preciso muito mais: redemocratização do país e mudança do projeto de desenvolvimento, com valorização do trabalho, desenvolvimento sustentável, investimento maciço em educação e tecnologia a serviço da sociedade e da redução da jornada laboral, energias renováveis, proteção à agricultura familiar e ecológica, reconstrução das agendas sociais e trabalhistas, renda mínima, redução das desigualdades etc. Como dissemos há um ano, é preciso que continuemos a semear em meio à tempestade. Somos todos semente desse futuro. Nesta edição, a revista Laborare, editada pelo Instituto Trabalho Digno, reúne 12 artigos que muito contribuem para o conhecimento multidisciplinar do mundo do trabalho. Os advogados Diego Villalón e Paulo Yamamoto analisam como o “pandemônio neoliberal” atuou durante a pandemia no Chile e no Brasil, e tratam de caminhos solidários trilhados pelo povo chileno. As professoras Alice Itani e Clarisse Castilhos, por sua vez, indagam como o discurso do desenvolvimento, imposto aos países do Sul, repercutem na vida e no trabalho. A Covid-19 também está presente no artigo do juiz do trabalho Xerxes Gusmão, do Espírito Santo, que questiona as modificações normativas adotadas no Brasil, uma vez que, ao contrário do que era preciso, flexibilizou-se a proteção à saúde e segurança do trabalho. O auditor-fiscal do trabalho Rui Vidal, da Paraíba, aborda a caracterização do risco grave e iminente na realidade sanitária da pandemia, assumindo que muitas irregularidades nos canteiros de obra passaram a significar excesso de risco à saúde dos trabalhadores, justificando-se a paralisação temporária da obra. O professor Nilton Vasconcelos, explora aspectos pouco conhecidos sobre experiências associativas e no surgimento do cooperativismo na Bahia a partir do fim do século XIX. A professora Alessandra Bender, do Instituto Federal do Paraná (IFPR), aborda a relação entre a temática do trabalho e a educação profissional e destaca a formação dos trabalhadores como agentes de transformação social. O pesquisador e sindicalista Remígio Todeschini apresenta sua pesquisa sobre os efeitos do trabalho de turno, demonstrando que no caso da quinta turma nas indústrias químicas de São Paulo, quanto mais dias de folgas e adicionais financeiros de turno, haverá menos problemas de saúde física e mental, e melhoria no convívio social e familiar. As estudiosas de Saúde Mental Amanda Azambuja e Liliana Guimarães avaliaram os fatores psicossociais de risco relacionados ao trabalho em funcionários públicos estaduais em Mato Grosso do Sul, enfatizando a necessidade de medidas de proteção e promoção da sua saúde. A pesquisadora da Fundacentro Maria Engrácia Chaves e a professora da UFBA Estela Aquino abordam a questão da desigualdade de gênero na reinserção no mercado de trabalho após a aposentadoria, quando mulheres que querem ou precisam voltar a trabalhar enfrentam obstáculos bem maiores que os enfrentados pelos homens. Também é sobre desigualdade no mercado de trabalho o estudo das advogadas Anna Beatriz Reis, Daiane Silva, Marcela Andrade e Monique Basso, de São Paulo, tratando das barreiras impostas às pessoas com deficiência e o direito ao trabalho como importante instrumento de emancipação. Mazela de um passado que não passa, o trabalho infantil é estudado em dois artigos. A pesquisadora Elisa Vergara, de São Paulo, busca desvendar as razões pelas quais a regulação da exploração do trabalho infantil doméstico permanece à margem do sistema protetivo legal às crianças e adolescentes. O acadêmico Felipe Caetano da Cunha e as professoras Vanessa Sousa e Camilla Cavalcanti realizaram no Ceará o estudo do caso da explosão de uma fábrica de fogos em Santo Antônio de Jesus, Bahia, que matou 6sessenta pessoas, dentre as quais vinte crianças e adolescentes que exerciam uma das piores formas de trabalho infantil, analisando-o à luz dos Direitos e da Convenção sobre os Direitos das Crianças. Como dissemos há um ano, é preciso que continuemos a semear em meio à tempestade. Somos todos sementes desse futuro. Boa leitura! Os Editores

The overall prevalence of raised blood pressure in adults aged 25 and over was around 50% in 2008 Globally. The prevalence is signicantly higher in geriatric population. The number of people with hypertension rose from 600 million in 1980 to nearly 2 billion in 2008. Worldwide, raised blood pressure is estimated to cause 7.5 million deaths, about 12.8% of the total of all annual deaths. This accounts for 57 million DALY (disability adjusted life years)s or 3.7% of total DALYs. Raised blood pressure is a major risk factor for coronary heart disease and ischemic as well as hemorrhagic stroke. Blood pressure levels have been shown to be positively and progressively related to the risk for stroke and coronary heart disease. In some age groups, the risk of cardiovascular disease doubles for each incremental increase of 20/10 mmHg of blood pressure, starting as low as 115/75 mmHg. In addition to coronary heart diseases and stroke, complications of raised blood pressure include heart failure, peripheral vascular disease, renal impairment, retinal hemorrhage and visual impairment. Treating high systolic blood pressure and diastolic blood pressure so they are below 140/90 mmHg is associated with a reduction in cardiovascular complications. Blood pressure can be managed with drugs as well as non-pharmacological measures which consist of exercise, weight reduction, salt restriction, eating fruits and vegetables, etc. Nonpharmacological measures play an important role in management of hypertension. The present study was done to assess knowledge of hypertension and its associated risk factors. Methods:This was a cross-sectional and community-based survey of 500 residents of urban slums in Pascim Midnapore , West bengal, India. Aset of questionnaires assessing knowledge of hypertension and its associated risk factors were used. Results: Most persons (73.6%), possibly due to their negative and neglected attitude towards health promotion.whether having hypertension or not, had average knowledge related to hypertension determinants, diagnosis, management and consequences .Only45% of people knows about the risk factors related to hypertension correctly. Conclusion: It is necessary urgently to promote knowledge, awareness, and health literacy among urban slum residents to prevent hypertension and associated CVDs.

"The Krell forgot one thing: monsters from the id." -- Warren Stevens (as Doc Ostrow), Forbidden Planet "What a mistake to have ever said the id. Everywhere it is machines -- real ones, not figurative ones: machines driving other machines, machines being driven by other machines, with all the necessary couplings and connections." -- Gilles Deleuze and Félix Guattari, Anti-Oedipus (1) In conversation with Michel Foucault in 1972, Gilles Deleuze agreed with the principle of collapsing the distinction between "theory" and "practice," by stating the following: A theory is exactly like a box of tools. It has nothing to do with the signifier. It must be useful. It must function. And not for itself. If no one uses it, beginning with the theoretician himself [sic] ... then the theory is worthless or the moment is inappropriate. We don't revise a theory, but construct new ones; we have no choice but to make others. (Language, Counter-Memory, Practice 208) Reading this, I wonder if Deleuze had in mind his recent collaborative work with Félix Guattari, which was to be published as L'Anti-Oedipe in the same year. In particular, I wonder whether he was using the language of the pragmatist to reflect upon the utility of his own recent theoretical activity -- that is, reflecting upon the theory of the machine (the cornerstone upon which Anti-Oedipus bases its argument) as a "tool". In this sense, using Deleuze's own words, the theory of the machine as it is mapped out in Anti-Oedipus has proven to be "worthless", or at least not of an appropriate moment. Certainly, Deleuze and Guattari have subsequently constructed other theories (such as those of the "assemblage", the "rhizome", or "nomadology") that the critical community has been more eager to discuss. Yet Guattari recently revisited the deleuzo-guattarian theory of the machine in Chaosmosis, as if he had never wanted to let go of this idea: to discern various levels of ontological intensity and envisage machinism in its totality, in its technological, social, semiotic and axiological avatars. And this will involve a reconstruction of the concept of machine that goes far beyond the technical machine. (34) The difficulty remains, of course, in trying to gain access to a concept of machine that is beyond the realm of the technical. How can we use a concept of machine that claims to go beyond the concept of utility (or techné, the function of technical machines)? Part of the problem, as I see it, is that this concept insists that "everything is a machine" (Anti-Oedipus 2) not figuratively or metaphorically, but literally, although this is a claim that cannot be demonstrated without in the first instance having the technical machines as a key frame of reference. It is thus difficult to demonstrate what a deleuzo-guattarian machine "looks like" unless we refer to mechanical apparatuses. What I hope to do here is provide another frame of reference, which might enable some of this difficulty to be removed. My suggestion is that a "useful" text for demonstrating the deleuzo-guattarian machine is the 1956 MGM film Forbidden Planet. Utility will be measured here by the degree in which we use the concept of machine to read this film, and by the degree to which this reading allows us to provide greater clarity to the concept of machine. For those unfamiliar with Forbidden Planet, a brief synopsis: Doctor Morbius (Walter Pidgeon) and his daughter Altaira (Anne Francis) are the only survivors of the human colony on Altair IV; a rescue mission, led by Commander John Adams (Leslie Nielsen), is warned by Morbius to stay away, to avoid the terrible fate that befell the colonists; as romance develops between Adams and Altaira, a monstrous creature menaces the crew, leading to the discovery that this monster is the fantastic creation of the unsuspecting Morbius (a result of experiments with the advanced technology of the Krell, the former inhabitants of Altair IV, who had also succumbed to similar monsters of their own). The plot is of course inspired by Shakespeare's Tempest, yet it differs from its source in some very telling ways -- in addition to the obvious differences that arise from a science fictional updating of a Renaissance text, such that spacecraft replace ships, and so on -- upon which I shall focus my reading of the film. The first difference is in the "staging", by which I mean that Forbidden Planet is spectacular and melodramatic. Stephen Orgel observes in his introduction to the Oxford edition of The Tempest that for more than two centuries the most popular productions of Shakespeare's play were those which relied on elaborate stage machinery to create spectacular effects, and which took liberties with the script to produce an operatic extravaganza. Yet he points out that these productions bore little resemblance to Shakespeare's text, which actually contains few direct staging instructions (64-77). In this sense, Forbidden Planet belongs to that tradition of texts which diverge from the original in their reliance on spectacular stage machinery, an example of what Orgel calls the "machine-play par excellence" (72). If it is reliant on machinery, however, the film also provides a harsh reflection upon the status of machinic technologies by drawing on familiar moralising science fiction narratives. As Charles Tashiro has noted, in his brief essay on the Unofficial Forbidden Planet Web Page, the story of Morbius owes as much to Mary Shelley's Frankenstein as it does to Shakespeare's Prospero. To this claim, I will add that the monster from Morbius's own "subconscious mind" also seems to owe something to Robert Louis Stevenson's Doctor Jekyll and Mister Hyde, at least insofar as the monster represents the destructiveness that inheres in being human. The story of Morbius thus introduces a second way in which Forbidden Planet differs from The Tempest: whereas Prospero grants his prisoners their freedom, and returns in moral triumph to his homeland (for the magic with which they are imprisoned is within his powers), Morbius refuses to recognise that the destructive force which threatens the crew is that part of himself which he cannot control, and he will ultimately die for this sin of misrecognition. The most telling difference (at least for my purposes here) relates to the question of why it is that Morbius refuses to recognise that the monster is himself. Missing from the text of Shakespeare's play is any direct parallel to the story of the Krell -- that is, the mystery of the sudden disappearance of the former inhabitants of Altair IV. As Doc Ostrow tells us in his death throes in Forbidden Planet (after taking the "brain booster" to double his intelligence), Morbius is "too close to the problem" to solve the riddle of the Krell and is therefore unable to recognise that he is repeating their mistakes by trying to revive the technology that led to their downfall. These mistakes: after demonstrating the vast technological advances that the Krell had achieved, Morbius states that he suspects they were in the process of developing a way to live in a "civilisation without instrumentalities" (to which Ostrow replies, "but that's impossible!"). This process involved harnessing the power at the core of the planet to enable its inhabitants to produce and project matter in any form, anywhere on the planet, with nothing more than a sheer act of will. Ostrow learns, of course, that the Krell successfully achieved this civilisation without instrumentalities. Instead of realising a utopian vision, however, they were destroyed by "monsters from the id" which had been instantaneously projected from the minds of the Krell onto the surface of the planet. Having been the only human to use the Krell technology, Morbius is the only current inhabitant whose monster has been unleashed to actualise his unconscious impulses (and we may suspect that his unconscious longing to be the sole benefactor of his discovery had been the catalyst for the deaths of the other humans that had arrived with him). This brings me to the question of the deleuzo-guattarian concept of the machine. Mark Jancovich suggests that Morbius's mistake is that, like the Krell, he valorises rationality and has "lost touch with the emotional world of the unconscious" (Rational Fears 264). Jancovich's reading is a suitably Freudian one, with the Oedipal god-father (Morbius) standing as the agent of repression against primitive emotional states (represented here by the romance between Adams and Altaira) in order to maintain his little kingdom. I suggest that this reading is well suited to Shakespeare's Prospero but is only useful as an explanation of Morbius's motivations to the extent that Morbius parallels Prospero. As I have suggested here, however, the story of the Krell complicates the situation. In Anti-Oedipus, Deleuze and Guattari map out the development of civilisations, not as the rise of the machine in place of primitive states of subsistence, but as the emergence of the "civilised capitalist machine" out from (and in place of) the "primitive territorial machine" (passim). If we think of the rise (and fall) of the Krell along these lines, we can see that the development of a "civilisation without instrumentalities" is only going to be "impossible" in the degree to which civilisation is understood as the total sum of all technological advances (where techné or instrumentality and utility represent a logic of understanding) -- which is of course the mechanistic view represented by Ostrow. What the film demonstrates instead is that stripping a civilisation of its instrumentalities produces something other than just a return of the primitive repressed. Yes, we do learn that the stripping away of instrumentalities lays bare the most destructive of forces: the id. Yet this is the id ex machina, as it were, unleashed upon the stage upon which these characters must otherwise play out their little Oedipal drama. Shakespeare's tempest is replaced here by the "id monster", a force that is everywhere and nowhere at once, as it exists by "continually constituting and reconstituting its molecules from one second to the next" (Ostrow again, explaining why the monster is unaffected by their sophisticated weapons, such as ray guns). What the film demonstrates instead is that stripping a civilisation of its instrumentalities produces something other than just a return of the primitive repressed. Yes, we do learn that the stripping away of instrumentalities lays bare the most destructive of forces: the id. Yet this is the id ex machina, as it were, unleashed upon the stage upon which these characters must otherwise play out their little Oedipal drama. Shakespeare's tempest is replaced here by the "id monster", a force that is everywhere and nowhere at once, as it exists by "continually constituting and reconstituting its molecules from one second to the next" (Ostrow again, explaining why the monster is unaffected by their sophisticated weapons, such as ray guns). In this world -- or, these worlds: the world of Altair IV and the world of the film and its relation to its sources -- in which instrumentality seems ubiquitous, then, the id monster provides a terrifying glimpse of what it means to think beyond instrumentalities. The id monster may thus allow us to glimpse the actualisation of a deleuzo-guattarian machine, which was established conceptually (at least in the opening passage to Anti-Oedipus) as a way of reconfiguring Freud's concept of the id (see the second epigraph with which I have framed this essay). Freud's singular term it/the id is reconfigured, "everywhere", as machines, but not as machinic apparatuses or technical machines. Here, I have tried to demonstrate that the way to understand this manoeuvre away from the technical machine -- to understand what a machine that exceeds techné might "look like" -- is to provide an example of the way in which, in a world where instrumentality (the rule of techné) asserts itself everywhere, the id manifests itself (fleetingly, almost invisibly) as excess, that is, as the product of the absence of instrumentalities. Whether this example should prove to be "useful" elsewhere is, of course, out of my hands. As I indicated before embarking on this brief reading of Forbidden Planet and its relation to its sources, the utility of this exercise could only be measured by the degree to which it allowed us to read the film through the filter of the deleuzo-guattarian machine and vice versa. Is this, then, a tool -- a model for the application and re-application of a concept of the machine? I think not. Yet I do hope that it provides a template (the instrument, shall we say) for measuring the utility of such exercises. Take it or leave it. References Deleuze, Gilles, and Félix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Trans. Robert Hurley, Mark Seem and Helen R. Lane. Minneapolis: Minnesota UP, 1992. (Originally published as L'Anti-Oedipe. Les Editions de Minuit, 1972). Foucault, Michel, and Gilles Deleuze. "Intellectuals and Power." Language, Counter-Memory, Practice. Michel Foucault. Trans. D.F. Bouchard and S. Simon. Ithaca: Cornell, 1977. Guattari, Félix. Chaosmosis: An Ethical-Aesthetic Paradigm. Trans. Paul Bains and Julian Pefanis. Sydney: Power Publications, 1995. (Originally published as Chaosmose. Éditions Galilée, 1992.) Jancovich, Mark. Rational Fears: American Horror in the 1950s. Manchester: Manchester UP, 1996. Orgel, Stephen, ed. The Tempest. The Oxford Shakespeare series. Oxford: Oxford UP, 1987. Citation reference for this article MLA style: Laurie Johnson. "Félix and Gilles's Tempestuous, Monstrous Machines." M/C: A Journal of Media and Culture 2.6 (1999). [your date of access] <http://www.uq.edu.au/mc/9909/monster.php>. Chicago style: Laurie Johnson, "Félix and Gilles's Tempestuous, Monstrous Machines," M/C: A Journal of Media and Culture 2, no. 6 (1999), <http://www.uq.edu.au/mc/9909/monster.php> ([your date of access]). APA style: Laurie Johnson. (1999) Félix and Gilles's tempestuous, monstrous machines. M/C: A Journal of Media and Culture 2(6). <http://www.uq.edu.au/mc/9909/monster.php> ([your date of access]).

This paper on cultural loops will begin slightly off-track, drawing on lessons that can be learned from a very basic non-terminating program, written in basic programming language: 100 Print "an infinite loop is" 110 Goto 100 Run an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is ... The output will continue looping through this cycle ad infinitum. Suppose that somebody has entered this program into a computer and entered a "Run" command as illustrated above. This somebody has then left the room and we enter a moment later. What we appear to be looking at is, strictly speaking, an "infinite loop," a programming sequence that has no condition for termination except for activation of the self same sequence. The screen has been filled with seemingly endless repetitions of the same string: "an infinite loop is" (or is it "is an infinite loop," or "loop is an infinite," or "infinite loop is an"?). In any case, we do not know that the loop is endless, nor even that this is a loop. Perhaps we could imagine that after so many repetitions the output will change. Perhaps we imagine that our absent programmer is really hard up for ways to pass the time and has spent countless hours entering repetitions of the same string into just one single line of programming: 100 Print "infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is an infinite loop is ... After several hours, perhaps the programmer finally tired of the exercise and finished off: ... an infinite loop is really a finite loop that thinks it can last forever and ever amen." For this matter, we might also wonder, as we watch the text scrolling up the screen, whether all of the preceding text has followed this exact pattern. Perhaps we just happened to stumble into the room at that moment, reflected in the current output, when our absent programmer decided to interrupt typing up a treatise on infinite loops with a banal illustration of what might constitute a loop of this sort. Wait for just a second or two more and surely the output will be different. Of course, in the present instance, we will be waiting for a very long time for any kind of change to appear in the output—how long is infinity again, does anybody know? Perhaps there is folly in trying to second guess the next piece of output produced by a program, particularly when the evidence on the screen provides no genuine clues to the structure of the program for which it is the output. At this point I hear the cries of dissent. How can I possibly say that the output of this program provides no clues to the structure of the program? After all, are we not faced here with output that, at the very least, appears to be endlessly repetitive? Without being drawn into a detailed discussion about the phenomenology of repetition, it is fair to say that, yes, when faced with the output on the screen as we enter the room, a reasonable expectation is that this output is several repetitions of a non-terminating series of repetitions. As each string is preceded and followed by the same string, the evidence suggests that the strings running off both the top and bottom of the screen have been preceded by and will be followed by the same string, according to the pattern. Yet I maintain that we can never be absolutely certain that the next thing that will appear on the screen will be yet another repetition of the same string. We cannot know the mind of the creator with sufficient certainty to predict this with perfect accuracy. Certainly, anybody who presumes that the string of strings on the screen is part of some non-repeating body of text is less likely to be right than the person who sees the pattern and guesses that the program for which this text is the output is an infinitely looping one. We need only to stop the program and bring it up on the screen to confirm the latter's suspicions to be correct. With this very strategy, however, we also illustrate the correctness of the claim I have made. In order to know with certainty what the program will be likely to output next, at some point we are required to terminate it and look at the program itself rather than its output. In other words, we need to stop the output if we want to know what will be put out next. The irony of this situation is of course that we cannot know from any series of outputs within an infinite loop that the loop is in fact infinite (or even that it is a loop), without first terminating the loop to look beyond its repeating output. An infinite loop is indeed a finite loop that we think can last forever and ever, amen. Douglas Hofstadter makes a similar point about the relationship between infinity and the finite parameters of strange loops in Gödel, Escher, Bach: An Eternal Golden Braid (1979). Strange loop phenomena emerge "whenever, by moving upwards (or downwards) through the levels of some hierarchical system, we unexpectedly find ourselves right back where we started" (10). A sense of paradox is associated with strange loops because they bring our notions of the finite and the infinite into conflict. Some object (A) always seems to contain or be the root cause of some other object (B) in a finite relationship, yet B also seems to contain or be the root cause of A, a paradox of infinite indeterminacy. Yet the paradox emerges because we are blinded from looking beyond what appears to be a fully self-contained system of determinations, even if we are unable to resolve the paradox of whether A determines B or vice versa. As we move upwards or downwards through the hierarchies in the system, we presume that we will move closer to its limit in either direction, yet we find ourselves perpetually drawn to reproduce the same steps within the hierarchy. For this reason, Hofstadter also refers to strange loops as tangled hierarchies (passim). The tangle is what draws us to repeat the same system of determinations endlessly, but Hofstadter points out that any system includes a protected or "inviolate level" which always remains "unassailable by the rules on other levels, not matter how tangled their interactions may be among themselves" (688). In the work of M.C. Escher, in particular, Hofstadter finds the most powerful visual realisations of strange loop phenomena: in Ascending and Descending, monks walk up and down staircases that loop around to join each other; in Waterfall, water falls into a pool that leads to an aqueduct flowing down to the waterfall that empties into the same pool; and in Drawing Hands, there are two hands that appear to be drawing each other. In each of these cases, however, the resolution of the apparent paradox is in realising the hand of Escher at work beyond the hierarchy: [In Drawing Hands,] levels which ordinarily are seen as hierarchical—that which draws and that which is drawn—turn back on each other, creating a Tangled Hierarchy. But the theme ... is borne out, of course, since behind it all lurks the undrawn but drawing hand of M.C. Escher, creator of both LH and RH. (689) The non-terminating program with which I began this paper provides a variation on this theme, since the output provides evidence of an infinite loop lurking in the structure of the program. A termination of the loop to look beyond the output will confirm this. Yet beyond the program is of course the programmer and, not necessarily the same person, the person who entered the "run" command to execute the program. In other words, there are several inviolate levels to consider in dealing with computer programs. The program itself contains the inviolate rules determining repetitions in the output. Beyond the program is the programmer. We might also consider the programming language and limitations of the technology mediating between the programmer and the program that is written, but I want to press ahead expeditiously. Beyond the programmer, there is also an executor, somebody who activates the program, making possible the generation of output. Perhaps we could refer to these two inviolate levels as those of the creator and the generator. In his examination of the strange loop of Escher's Drawing Hands, Hofstadter points out the hand of the creator lurking within the inviolate level beyond the frame of the picture. We might add that as a work of art, the picture is not a free-floating object presented to us in any unmediated way. The image circulates within an array of cultural institutions and contexts, all of which mediates our access to it, and which might be thought of here as the conditions for the generation of the image. Consider, for example, that we had never seen Drawing Hands before reading Hofstadter's book. We would have to take Hofstadter's word on the matter, that this drawing had been done by this Dutchman named Escher. Hofstadter—or, to be more precise, the book which carries his name as its authorial signature—has made possible our access to the image. Furthermore, it is within the context of a discussion about strange loops and such matters that we are asked to look at the image. Now, suppose we were to put the book down and think little of it for some time, perhaps because we are not very mathematically minded and we sort of got muddled up a bit by some of the other parts of Hofstadter's book. Years later, we find ourselves in an art gallery, and there is a special exhibit of Escher's work. We stumble upon the original, stare at it for a moment, then realise that we have seen it before. Suddenly, Hofstadter's discussion springs to mind and we are reminded of strange loops and we think smugly, ah, this is no paradox, since the hand of Escher existing at an inviolate level has drawn both the left and right hands which appear to be drawing each other. This situation leads to a strange cultural loop, since our reception of an original artwork has been already shaped by something we have seen elsewhere, in this instance, a copy of that exact same artwork. The point is of course that cultural products circulate within precisely just these sorts of loops all of the time. Indeed, I maintain that such loops constitute culture. Allow me to explain. What makes an object an example of a culture is its capacity to resonate with features that it has in common with other objects created within the same culture. Words such as genre, movement, poetics or style (among others) refer to ways in which original works of art remain tied together within structures of repetition of core features. In a similar vein, archaeologists excavating a dig and finding numerous pots will look for repeated patterns, shapes, and techniques to determine cultural affiliations. The strange loop emerges around the vexed question of origins: is a culture made up of repeated patterns on pots, or does a culture determine repetitions of patterns on pots? At this point it should be pertinent to bring cultural theory into play. According to the theoretical anthropology developed by Clifford Geertz in The Interpretation of Cultures (1975), culture can be defined as "a stratified hierarchy of meaningful structures" (7). The ethnographic method that he calls "thick description" is designed to enable anthropologists to sort out these structures from the concrete complexes of behaviour that are observed in the field. He takes as a reference point a question posed by the philosopher Gilbert Ryle: when is the closing of one eyelid a wink and when is it a twitch? As Stephen Greenblatt summarises the point, the distinction is in the shared code, a distinction that "is secured by the element of volition that is not itself visibly manifest in the contraction of the eyelid; a thin description would miss it altogether" (Practicing 23). To compare this situation with the situation I described earlier, we can imagine thick description as a method for second guessing cultural output by moving from the perceived pattern to expectations about the mind and method of the creator. The thickness of the description inheres in its intent to take fuller account of the conditions for the generation of this cultural output. Yet in practice, the method sometimes seems to rigidify. For example, Greenblatt's own literary criticism—referred to most commonly as New Historicism, although he himself prefers the name Cultural Poetics—is often accused of flattening out culture. The method typically proceeds by considering together a literary text and the text of some contemporary domestic circumstance or event (a legal extract, a travel journal, a royal decree or such like), so as to find patterns pointing to the system of meanings underlining both texts. Being unable to terminate the infinite loop of cultural production, whereupon all texts echo all other texts in something akin to what Michel Foucault called the "fantasia of the library," the new historicist tries to work backward from the conventions of textual production to the cultural matrix beneath. While Greenblatt frequently argues that a cultural poetics recognises the agency of the individuals who produce these texts, the core issues of methodology have at base been recently defined in terms of the inviolability of the base level of determination—the archive: If every trace of a culture is part of a massive text, how can one identify the boundaries of these units? What is the appropriate scale? There are, we conclude, no abstract, purely theoretical answers to these questions. To a considerable extent the units are given by the archive itself—that is, we almost always receive works whose boundaries have already been defined by the technology and generic assumptions of the original makers. (Practicing 14) Here again the tension emerges between the infinite and the finite in the attempt to come to terms with unidentifiable boundaries of the units of culture. The resolution, curiously enough, is a loop at the core of Greenblatt's cultural poetics: the structure of the archive determines for us the units of perception within which we view traces of culture, to determine the structure of the archive. Thus, from the perspective of Greenblatt's cultural poetics, the stratified hierarchy of meaningful structures constituting culture is a tangled hierarchy. Lurking at the inviolate level is, of course, Greenblatt himself. Greenblatt, Geertz and many others who practice these methods for reading culture as a text recognise this inviolate level openly. In the introduction to his landmark work, Renaissance Self-Fashioning (1980), Greenblatt confesses, "the resonance and centrality we find in our small group of texts and their authors is our invention" (6). This confession leads me one step closer to my final point here. Even as the method of cultural poetics tends at times to flatten culture out to nodes of production arising from a single, static archive, and threatens to forget the agency of cultural producers, the method itself relies entirely on the creative and constitutive role of the observer. Greenblatt's literary and cultural criticism functions in a way that bears striking resemblance to the flights of fancy we undertook in the opening passages of this paper, looking at a pattern of output and trying to imagine what the structure of production would be like behind this output. Like the archaeologists staring at patterns on pots, cultural theorists could sometimes be forgiven for overlooking the question of agency altogether. One of the reasons for this is that we tend to think of agency in terms of a capacity to effect change, rather than in terms of the repetition of existing patterns and structures. "Structure" and "agency" might seem to be mutually opposed terms in discussions of cultural production. Yet the lesson we might be able to learn from these discussions of strange loops and cultural production is that agency is just as necessary to shaping the cultural matrix as it is to the realisation of this system in the production of culture. When we find patterns, we are exercising the wholly productive force of the imagination. Beyond creators, generators, programs, archives and so on, there is the observer whose capacity for making sense of texts is what ultimately gives to culture its contours, patterns and limits. Furthermore—what remains to be discussed in another forum—this constitutive capacity is something that is present in everyday practice, not simply in the realms of anthropology or cultural studies. The person sitting in front of the television, for example, is in much the same situation as when we stared at the computer screen waiting to see if the output would change. The decisions we make about whether we recognise patterns, locate meaningful structures and so on are similar to cultural reception or consumption, which I maintain is as productive as creation or generation. It is the decisions we make that insinuate infinity when we observe a loop. As we observed at the outset here, the infinity of the loop is not inherent in the structure of the output but in the way we choose to make sense of the patterns, what we imagined to have preceded the present text and to be likely to come after. To illustrate the comparison between observation of an infinite loop and agency in the field of cultural production, in conclusion, we need only to go back again to where we started here, but I leave that task up to the reader. References Foucault, Michel. Language, Counter-Memory, Practice: Selected Essays and Interviews. Trans. D.F.Bouchard and S.Simon. Ithaca: Cornell University Press, 1977. Gallagher, Catherine and Stephen Greenblatt. Practicing New Historicism. Chicago: University of Chicago Press, 2000. Geertz, Clifford. The Interpretation of Cultures: Selected Essays. London: Hutchinson, 1975. Greenblatt, Stephen. Renaissance Self-Fashioning: From More to Shakespeare. Chicago: University of Chicago Press, 1980. ---. Learning to Curse: Essays in Early Modern Culture. New York: Routledge, 1992. Hofstadter, Douglas R. Gödel, Escher, Bach: An Eternal Golden Braid. Sussex: Harvester Press, 1979. Citation reference for this article MLA Style Johnson, Laurie. "Agency" M/C: A Journal of Media and Culture 5.4 (2002). [your date of access] < http://www.media-culture.org.au/mc/0208/agency.php>. Chicago Style Johnson, Laurie, "Agency" M/C: A Journal of Media and Culture 5, no. 4 (2002), < http://www.media-culture.org.au/mc/0208/agency.php> ([your date of access]). APA Style Johnson, Laurie. (2002) Agency. M/C: A Journal of Media and Culture 5(4). < http://www.media-culture.org.au/mc/0208/agency.php> ([your date of access]).