Journal articles on the topic 'Institutional Multiple logical'

The article summarizes some arguments as regards the scientific challenge on improving approaches to evaluating the country’s investment potential. The main objective of the research is to identify the features and perspectives of applying the variables such as the shadow economy and the integrated institutional quality index into a model evaluating the country’s investment potential. To solve this task, systematization of the related theoretical and methodological materials has been done. The methodological tools of the research are carried out in the following logical sequence: systematization of existing statistical methods for estimating the shadow economy; time data series analysis; and regression analysis. The scope of the shadow economy could be estimated as a dependent variable, with both its determinants and indicators detected and measured. The macro methods, such as Multiple Indicators Multiple Causes (MIMIC) are suitable approaches from an econometric standpoint to evaluate the shadow economy. Institutional quality is crucially an important variable for empirical studies related to evaluating the country’s investment potential. The proposed approach considers significance and direction of the six Worldwide Government Indicators’ (WGI) impact on foreign direct investment net inflow, eliminating the issue of their multicollinearity. However, political instability and high frequency of foreign and domestic policy changes during the last decades distort statistical significance of the results obtained. FDI inflow, as well as the quality of governance, and the shadow economy, is influenced by many other factors, both internal and external, so to build a qualitative model for evaluating the country’s investment potential of the national economy it is necessary to expand the set of factors for analysis. The results of the research can be useful for a more accurate investment potential evaluation on the macroeconomic level, and forecasting foreign direct investment inflows for the following time periods.

PurposeThe objective of this paper is to investigate the emergence of corporate political activities (CPAs) in the form of social responsibility in the banking sector in Bangladesh. The use of institutional logics allows the authors to explore not only the motivations underlying this sudden shift in corporate approach towards corporate social reporting (CSR) disclosure but also to investigate whether a logical plurality exists in this new approach.Design/methodology/approachThe analysis is based on 21 in-depth interviews with policymakers, regulatory bodies and top management and members of boards of directors in the banking sector.FindingsThe findings of this study are both consistent with and different to those of Uddin et al. (2018). While their findings show that Bangladeshi companies engage in CSR activities primarily to demonstrate their allegiance with the ruling political regime driven by notions of traditionalism, this study’s findings show the existence of a logical pluralism across industries in the manner they engage with CSR activities and disclosures. In addition to the dominant market logic, the authors also find the co-existence of community and family logics shaping the nature of CSR disclosures made by banking companies in Bangladesh.Originality/valueThe authors contribute to the accounting and management literature by providing first-hand evidence of the motivations underlying the emergence of CPAs in the context of a developing country. The adoption of an alternative theoretical framework allows the authors to identify the multiple logics that dictate corporate attitude towards CSR engagement and disclosure.

The superior development priority of Human Resources (HR) is the answer to the twisted development of the Industrial Revolution Era 4.0 which is currently booming. Increasing the competitiveness of the Indonesian people through education is a logical and philosophical argument; which the demographic bonus that Indonesia has in 2020 more than 67% of the Indonesian population is in productive ages. Islamic Religious College is one of the locomotives that is believed to be able to deliver its demographic bonus in accordance with the Strategic Plan owned by the Indonesian. This opportunity has also been captured by the education world with the issuance of the Indonesian Qualification Framework (Kerangka Kualifikasi Nasional Indonesia, KKNI) policy and strategic policies issued by the Ministry of Research, Technology, and Higher Education (Kementerian Riset, Teknologi, dan Pendidikan Tinggi) and the Ministry of Religion (Kementerian Agama) in welcoming the rapid development. The policy product resulted by the Ministry of Research, Technology, and Higher Education and the Ministry of Religion at the upstream level has the same goal, but at the grassroots downstream level the policy implementation in each of Islamic Higher Education (Perguruan Tinggi Keagamaan Islam, PTKI) is very dynamic and sometimes also contradictory to the policies of this institution. The focus of this research is to examine the contradictory realities in implementing interrelated policies in various Islamic Religious Colleges using a qualitative approach. The findings of this research can be concluded that dynamics, contradictions in the policies implementation in various PTKIs due to social conditions, campus politics, academic culture and the authority leader who lead a university, become a trigger for multiple interpretations of a policy product.

The ArgumentOur understanding of the predisposing factors, the nature, and the fate of the Oxford Calculatory tradition can be significantly increased by seeing it in its social and institutional context. For instance, the use of intricate imaginary cases in Calculatory works becomes more understandable if we see the connection of these works to undergraduate logical disputations. Likewise, the demise of the Calculatory tradition is better understood in the light of subsequent efforts at educational reform.Unfortunately, too little evidence remains about the Calculators and their context to enable anything like a full reconstruction of the relation of the Oxford Calculators' work to its context. Nevertheless, seeking out and fitting together the bits of information that do remain can add to our insight. Among the topics worth further research are the relation of training in calculationes to later careers in church or government, and the special features of the Calculatory tradition as a tradition consisting of multiple parallel manifestations closely interconnected with other disciplines, ranging from logic and natural philosophy to theology and medicine.

Abstract All Institutional Animal Care and Use Committees (IACUC) are all subject to the same regulatory requirements. Membership requirements (Scientist, Nonscientist, Attending Veterinarian, Public Members, and Chairperson) are established by the regulatory agencies and appointed by the Institutional Official (IO). Today we will review the basic role of the IACUC: reviewing animal use protocols, inspecting animal facilities and procedure areas, evaluating the program of animal care, investigating allegations of non-compliance, making recommendations to the institutional official about needed changes, and utilizing the Ag Guide as a guidance document. The role of the IACUC at Land Grant Institutions is confounded often by the variety of research that is conducted. At the University of Nebraska, we have traditional food and fiber, biomedical and wildlife research, which requires a diverse set of committee members to adequately review the animal care and use. All IACUC protocols, regardless of the species or funding mechanism, are required to address several common questions. As a principal investigator, you can help yourself tremendously by providing all the required information in a transparent, logical and organized manner. If you can anticipate your audience and provide key information in multiple formats, it will help streamline the review process. Based on membership requirements, most committee members will not come from agriculture backgrounds, so it is imperative you help the committee to understand standard agriculture practices. You can best accomplish this with standard operating procedures, herd management protocols, disaster plans, and veterinary care processes and provide photographs or short video clips of your proposed activities. Additionally, if you are asked to serve on this committee, be willing to proactively educate your peers on what is considered appropriate management, housing, experimental and humane endpoints. By acting as your own advocate, you can ensure good animal care as well as achieve timely approvals.

The Khanty-Mansi Autonomous Okrug — Yugra (KhMAO-Yugra) is classifie d a s on e o f Russia’ s norther n resource- extracting regions, the contribution of human capital to whose gross regional product (GRP) is typically negligible. In this context, the study investigated the impact of higher and vocational education on the development of the region’s economy. The objective of the research was to identify the direction and influence of human capital — in particular, higher and vocational education — on the economic development of KhMAO-Yugra. Despite the resource-extracting character of this region’s economy, its development can still be influenced by the quality of its human capital, as well as by institutional traps in the higher and vocational education system. Economic-statistical research methods — including multiple correlation and regression analysis — were used in combination with an abstract-logical approach. Along with an examination of the regional higher and vocational education system, the influence of its dynamic and structural factors on socio-economic development indicators is revealed. Predictions of GRP and average monthly salaries in KhMAO-Yugra until 2030 are offered. Institutional traps inherent in the region’s current higher and vocational education system are described. Factors identified as having the most significant positive impact include the number of postgraduate students, as well as bachelor-, specialist-, and masters-level graduates. The most harmful institutional traps are shown to be departmental affiliatio n, applica nt preference s, minim um tuiti on fee and low unemployment rate. If current trends in the region’s education and scientific systems are maintained, stagnation of its economy is likely to occur, resulting in a reduction of the region’s attractiveness to young professionals. The findings of the study can be applied when making changes to regional development programmes. More research is needed to determine economic development priorities in terms of human capital or resource extraction.

This study investigates accountability practices of Indonesian state universities during the reform implementation for being autonomous universites called as PTN Badan Hukum. Although the reform has been implemented based on government regulation, lack of empirical study can be viewed in published articles. For that reason, this study is addresed to filling the lack of accountability research in the reform of state universities in Indonesia. The context of the reform is the adoption of autonomous universities that are more close to the concept of privatisation affected by the internationalization objective of national agenda. Interpretive research approach is adopted to develop inductively a conceptual perspective based on central phenomenon. Moreover, the cases of the study are three Indonesian state universities which implement the form of autonomous state university with pseudo named as UG, UD and UA. Straussian grounded theory approach was adopted in data analysis and collection. The central phenomenon of substantive grounded theory is labelled as multiple accountability responses in various institutional logic during transformation process of state universities that have been transformed from fully governed by Indonesia government become autonomous entities. The main finding of the study explains the presence of various institutional accountibility logics practiced in the context of internationalization process of Indonesia higher education institutions. The various institutional logics arise from personal, professional, managerial and public accountability logics. The various accountability logics display from two different environmental background that are university with less and high internationalization. Less and moderate conflict are resulted from low and high internationalization achievement respectively. The practice of accountability seem displaying more emphasize on public accountability logic in social level, managerial accountability logic in organizational level, personal and professional in individual level. The contribution of this research relates to empirical findings that enrich higher education accountability research in developing countries, employs interpretive methodology and grounded theory, and provides incremental development of institutional logics theory in explaining organizational change in a specific context.

The article is devoted to the theoretical foundations and analysis of the experience of subjects of the Russian Federation in the field of regional development risk management. The article examines the concept of risk, its difference and relationship with the
 concepts of uncertainty, threat, danger, security and others. It is determined that dangers are
 constantly present in the regional economy. And risk, as a measurable uncertainty with multiple outcomes, for which the probability of occurrence of a risk event is calculated, is manifested as a result of the occurrence of a hazard. When comparing the concepts of risk and
 security, this means that the security of the regional economy is manifested in the ability to
 resist threats and manage risks, and not in the complete absence of dangers. It is revealed
 that ISO standards distinguish between the concepts of risk management and risk management. For further discussion, risk management is understood as a systematic approach to
 using the full range of mechanisms available to public authorities to reduce emerging risks
 and threats to the socio-economic development of the region. Further, the analysis of risk
 management in the practice of regional management on the example of the Omsk, Novosibirsk and Tyumen regions is carried out. The relevant tools in the activities of government
 bodies, such as territorial development strategies, state programs and projects, were identified, which allowed us to introduce a classification of risks with the allocation of strategic,
 tactical risks of territorial development and project management risks, among which there is
 a strategic level. The analysis of the implemented tools for compliance with the mandatory
 stages of risk management showed mainly the absence of risk identification, unified requirements for risk accounting and systematic risk management of regional development. Among
 the assessed regions, the Tyumen region has the best practices in terms of risk management. For a more detailed analysis authors highlighted the key institutional and instrumental
 elements of risk management such as risk committee, strategic risk map, risk register, action
 plan for risk management, and defined logical relationships between them.

This paper analyses the interaction among organizations and societal-level logics, in order to understand how and why organizations adopt different or similar forms and practices. Institutional logics are taken for granted practices and beliefs concerning the institutions of modern societies. Organizational forms, behaviours and managerial practices are manifestations of institutional logics. Through the study of the rise and evolution of the Temporary Work Agencies (TWAs) field, we aim to study the mutual interaction among field actors and institutional logics. Many studies focused on the influence of a dominant logic on practices and organizations of a field. This paper contributes to better comprehend how multiple institutional logics coexist in an organizational field. In particular we discuss the impact of multiple competing logics on the almost "young" TWAs' field. Our work brought out a new element: as a matter of fact the empirical research shows that institutional logics are not always consistent with related institutional pressures and with their effects on the organizational field and on organizational forms and managerial practices of the field's organizations.

BackgroundHumans are genetically diverse and possess a rich immunological history. It is logical to consider that these factors may lead to differences in individual immunological responses to therapy when diagnosed with cancer. The successful implementation of immune-based therapies against cancer has brought the need to develop strategies to create meaningful profiles that faithfully depict the patient‘s immunological status. We report an in-depth immunological interrogation methodology, termed ATLAS. This system was designed to generate an accurate representation of the patient‘s immunological landscape that can be used during various time points during immune-checkpoint inhibitor (ICI) therapy.MethodsWe selected data from our prospective registry trial at Loyola University Medical Center to design individual immunological profiles of patients diagnosed with locally advanced or metastatic solid tumors planning to receive ICI. Only metastatic melanoma patients samples pre-ICI therapy are included in this first analysis. Twenty mL of peripheral blood were collected. Giving consideration to scientific rigor and limited sample availability, the assays were designed in miniaturized forms. ATLAS includes classical peripheral blood mononuclear cells (PBMCs) composition and T cell phenotypic and transcriptional analysis. To depict T cell functionality, we examined multiple parameters such as T cell receptor (TCR) signaling threshold, cell proliferation and NF-kB activation, at steady-state and in response to cell activation. To obtain both a broad and T cell-specific view, we quantified circulating chemokines and cytokines in plasma and from activated T cells.ResultsFor this first methodologic demonstration, patient characteristics are depicted in table 1. Data from different ATLAS assays were used to create individual immunological profiles presented as a dashboard for each patient. Distributional plots and measures of center (mean, median) and spread (range, variance) were used to eliminate low-information parameters from the figures. Data visualizations compared individual patients to the sample median for continuous parameters and compared patients‘ percentages to sample average relative abundance. Two patients, P011 shown in figure 1 and P021 shown in figure 2, are depicted using this approach.Abstract 52 Table 1Patient characteristicsAbstract 52 Figure 1Patient 011 dashboardAbstract 52 Figure 2Patient 021 dashboardConclusionsATLAS can be used in real-world conditions to generate comprehensive immunological profiles of cancer patients. Individual profiles indicate that immunological constitution is heterogeneous among patients, even with the same tumor type. We propose that the addition of ATLAS to our clinical and immunological toolbox may help stratify patients to articulate truly personalized oncologic therapies.Ethics ApprovalThe study was approved by Loyola University Medical Center and Loyola University Chicago Ethics Board and Institutional Review Board, approval number 209364.

<p><strong>Purpose:</strong> The main purpose of the paper is to highlight some limits of the traditional theoretical interpretation of the relationships between the city and economic activities. This interpretation usually makes reference to two elements: agglomeration economies, cumulatively generating gains in efficiency and consequently in competitiveness and attractiveness and external connectivity, linked to multiple networks of both physical and immaterial nature. This approach, mainly functional and geographical, nowadays looks quite reductionist and overlooks crucial aspects of the urban realm that explain urban economic success The first aspect concerns the social and cultural nature of the main inter-personal and inter-institutional relationships taking place inside the city, conducive to crucial processes of cooperation, collective learning, creativity and innovation. In addition to this, the growing concentration on (mainly large) cities of command and control functions which not only witnesses the presence of their political power – underlined by a growing literature in geography and political science – but also widely determines income distribution in space, at the local, national and global scale. The functional interpretation of the city should be complemented by a relational-cognitive and hierarchical-distributive approach. The latter one is particularly interesting for the interpretation of the development of ‘monopolistic’ cities which operate on economic functions in which they can benefit from a captive market: capital cities and art cities in particular.</p><p><strong>Methodology/Approach: </strong>While the first part of the paper is mainly theoretical, it presents also an empirical side in the second issue, namely the destiny of medium-sized cities. The last section of the paper concerns a logical turnaround: ‘cities as businesses’ where high surpluses are generated in the real estate field, taking advantage of the economic success of the cities themselves and appropriating a consistent share of the generated profits in the form of land rents.</p><p><strong>Findings: </strong>The traditional view is that medium-sized cities cannot take full advantage of agglomeration economies and therefore will necessarily show lower growth rates in the long term. This paper argues against this view, on both theoretical and empirical grounds, looking at the evidence of European cities in the last twenty years. In many countries, this process should be more appropriately taxed in order to allow sustainable and socially equilibrated development: a fairer sharing of these surplus-values between private and public parties is justified by the collective nature of urban externalities.</p><p><strong>Originality/Value of paper: </strong>The implications of the arguments presented here are relevant on both the interpretative and policy ground. The sources of urban economic success are not linked only to functional or efficiency elements but also to cultural-psychological and to power elements. The former ones require subtler policy strategies and the latter more appropriate policy tools oriented towards the widely ignored challenge of income distribution in space.</p>

Aim/Purpose: This paper reports on a case study project which had three goals; to develop a suite of original interactive digital skills e-tutorials to be embedded in undergraduate and postgraduate courses; to evaluate the students’ experience and engagement with the e-tutorials over one semester; and to explore their general attitudes towards online and blended learning. Background: Online and blended learning modes continue to grow in popularity in higher education, with the aim of streamlining and enhancing student learning, supporting collaboration and creativity, and equipping students with the skills they will require to work and live in an increasingly digitized world. This practice-based case study highlights factors which positively and negatively affect user engagement with digital learning objects and explores students’ perceptions of the role of online learning within their academic programs. Methodology: A suite of nine interactive e-tutorials, addressing essential digital literacy skills for university students, was developed through instructor and student peer collaboration using Articulate software, informed by best practice. The e-tutorials were embedded in the institutional Learning Management System for three undergraduate and postgraduate courses, in which digital literacy formed the core learning content, to complement classroom-based learning. Students in these courses were surveyed via SurveyMonkey about their specific experience of using the e-tutorials, as well as their general perceptions of digital literacy and online learning. Eighty-six students in total completed the questionnaire, which consisted of twenty-three closed- and open-ended questions. Contribution: Through highlighting both the positive and the challenging aspects of the students’ reported experience of online learning, this case study contributes useful insights to the body of literature on user engagement with digital learning objects in higher education, as well as students’ perceptions and experience of blended learning. Findings: The e-tutorials were perceived as valuable in reinforcing classroom learning, allowing respondents to revise concepts and materials covered in face-to-face classes, at their own pace and in their own time. Survey responses showed that the accessibility, ease-of-use, design and duration of the e-tutorials were deemed effective in terms of user engagement; however, several technological challenges were identified, such as browser incompatibility, uneven sound quality and general Internet connection issues, which disrupted their learning. Overall, students expressed enjoyment of the learning facilitated by the e-tutorials; however, rather than favoring online learning alone, they expressed a preference for a blended learning environment, with a combination of complementary learning approaches; survey respondents did not generally wish to forego face-to-face classes entirely. Recommendations for Practitioners: Instructors should seek to strategically embed interactive digital learning objects in their courses at defined points of need in a logical structure, e.g., to reinforce classroom-based learning, or to support specific skill development. Potential disruption to learning should be minimized by following best practice guidelines to ensure ease of access, a seamless user experience, and timely feedback, as well as providing adequate support for rapid resolution of technical glitches. Recommendation for Researchers: E-tutorials offer a useful means of exploring ways in which students acquire learning in the digital environment. A wider, collaborative exploration is needed to provide comparative studies which move beyond case studies. Impact on Society: Online learning mechanisms, such as e-tutorials, offer students different means of acquiring essential literacy skills and different ways to interact with content. E-tutorials constitute reusable learning objects, which can be accessed as just-in-time delivery modes, when students perceive they need to review particular skills or reinforce learning material. Future Research: This research is now expanding into different types of reusable learning objects. E-tutorials may be developed in multiple ways, and comparative research around e-tutorial models will deepen our understanding of how students interact with content in formal learning contexts. As the digital educational landscape continues to expand alongside traditional face-to-face and analogue learning modes, a key research focus will be student and instructor perceptions and experience of blended learning in different contexts.

The article describes the mechanisms of constructing the practices of marriage and family partnership and paternity. The author notes that an idea of a traditional family, the subject changes the status of traditional family values, destroys the usual role-playing behaviour of men/women, departs from institutional rules and constructs individual values of practices, is freed from the influence of absolute measurements regarding the “sacredness” of classically traditional families, marriage, paternity. In such circumstances, the explanatory capacity of existing scientific approaches to interpreting the polyphony of the meanings of practices and multiple identities is insufficient. It logically raises the question of the need for a new concept of psychological transformation practices of marriage and family partnership and paternity. Thus, addressing these issues gives a new understanding of the mechanisms and processes that recreate the nature of changes in spousal partnerships and paternity practices in the context of social realities. In the process of building of marriage and family partnership and paternity cultural conditioned, individual and personal, emotional and sensitive social and psychological predictors of external variables are personal factors which correlate individual understanding of the meanings of practices and themselves. The work also proposes the social-psychological concept of postmodern transformations of the practices of marriage-family partnership and paternity, according to which the existing polyphony of meanings is the result of the interdependence of social-psychological predictors of meanings, the activation of mechanisms of constructing and the process of self-referential identity.

The purpose and goal of the research revolve around the diagnosis of intellectual capital as the logical indicator to study an effective human resource management practice and its influential role in determining the overall quality management of higher education institutions and scientific research in Baghdad. 
 To achieve the purpose of the research, an upgraded standard questionnaire was used to collect data and distribute it to the selected sample in a statistical manner from the study population of (5) institutions affiliated with the Ministry of Higher Education and Scientific Research in Baghdad. A sample of (83) faculty and employees in the community of the researched institutions were targeted. They are known for their competence, experience and expertise within the elite measurements in managing human resources qualified for serious and efficient work. The extraction of results was based on the statistical package (SPSS), using the statistics of the arithmetic mean, standard deviation, coefficient of variation, Spearman correlation coefficient and multiple regression, and statistical tests represented by (t, F).
 According to the results extracted and analyzed, a set of conclusions related to the extent to which the intellectual capital has a distinct role in the development of total quality management in the areas of top management, continuous improvement and strategic planning for quality related to the implementation of the comprehensive strategy of the institutions of the Ministry of Higher Education in Baghdad. Certainly, the results reached to show the moderation of the availability of the necessary infrastructure to enhance the intellectual capital in higher education institutions in Baghdad, which requires an effective review of their organizational structures, as well as attracting and creating client and human capital, as they constitute an added value for developing mental and knowledge maturity For the elite teachers and distinguished employees who possess the ability to think, analyze, create, innovate, and employ knowledge, experience and skill in the field of learning and education.
 Among the most prominent recommendations reached by the research is that it is of the utmost importance for the institution's department of the Ministry of Higher Education in Baghdad to evaluate and evaluate their intellectual assets of teachers and employees, and to develop a strategic plan that includes identifying their current and future needs for human capital from teachers and employees with scientific competence and holders of experience certificates and awards Scientific and patents.

This study aimed to explore the perceived barriers to physical activity among college students Study Design: Qualitative research design Eight focus group discussions on 67 college students aged 18-24 years (48 females, 19 males) was conducted on College premises. Data were analysed using inductive approach. Participants identified a number of obstacles to physical activity. Perceived barriers emerged from the analysis of the data addressed the different dimensions of the socio-ecological framework. The result indicated that the young adults perceived substantial amount of personal, social and environmental factors as barriers such as time constraint, tiredness, stress, family control, safety issues and much more. Understanding the barriers and overcoming the barriers at this stage will be valuable. Health professionals and researchers can use this information to design and implement interventions, strategies and policies to promote the participation in physical activity. This further can help the students to deal with those barriers and can help to instil the habit of regular physical activity in the later adult years.

In a Biodiversity_Next 2019 symposium, a vision of Digital Specimens based on the concept of a Digital Object Architecture (Kahn and Wilensky 2006) (DOA) was discussed as a new layer between data infrastructure of natural science collections and user applications for processing and interacting with information about specimens and collections. This vision would enable the transformation of institutional curatorial practises into joint community curation of the scientific data by providing seamless global access to specimens and collections spanning multiple collection-holding institutions and sources. A DOA-based implementation (Lannom et al. 2020) also offers wider, more flexible, and ‘FAIR’ (Findable, Accessible, Interoperable, Reusable) access for varied research and policy uses: recognising curatorial work, annotating with latest taxonomic treatments, understanding variations, working with DNA sequences or chemical analyses, supporting regulatory processes for health, food, security, sustainability and environmental change, inventions/products critical to the bio-economy, and educational uses. To make this vision a reality, a specification is needed that describes what a Digital Specimen is, and how to technically implement it. This specification is named 'openDS' for open Digital Specimen. It needs to describe how machines and humans can act on a Digital Specimen and gain attribution for their work; how the data can be serialized and packaged; and it needs to describe the object model (the scientific content part and its structure). The object model should describe how to include the specimen data itself as well as all data derived from the specimen, which is in principle the same as what the Extended Specimen model aims to describe. This part will therefore be developed in close collaboration with people working on that model. After the Biodiversity_Next symposium, the idea of a standard for Digital Specimens has been further discussed and detailed in a MOBILISE Workshop in Warsaw, 2020, with stakeholders like the GBIF, iDigBio, CETAF and DiSSCo. The workshop examined the technical basis of the new specification, agreed on scope and structure of the new specification and laid groundwork for future activities in the Research Data Alliance (RDA), Biodiversity Information Standards (TDWG), and technical workshops. A working group in the DiSSCo Prepare project has begun on the technical specification of the ‘open Digital Specimen’ (openDS). This specification will provide the definition of what a Digital Specimen is, its logical structure and content, and the operations permitted on that. The group is also working on a document with frequently asked questions. Realising the vision of Digital Specimen on a global level requires openDS to become a new TDWG standard and to be aligned with the vision for Extended Specimens. A TDWG Birds-of-a-Feather working session in September 2020 discusses and plans this further. The object model will include concepts from ABCD 3.0 and EFG extension for geo-sciences, and also extend from bco:MaterialSample in the OBO Foundry’s Biological Collection Ontology (BCO), which is linked to Darwin Core and from iao:InformationContentEntity in OBO Foundry's Information Artifact Ontology (IAO). openDS will also make use of the RDA/TDWG attribution metadata recommendation and other RDA recommendations. A publication is in preparation that describes the relationship with RDA recommendations in more detail, which will also be presented in the TDWG symposium.

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Abstract Researchers and research organizations are under increasing pressure to demonstrate that their work contributes to positive change and helps solve pressing societal challenges. There is a simultaneous trend towards more engaged transdisciplinary research that is complexity-aware and appreciates that change happens through systems transformation, not only through technological innovation. Appropriate evaluation approaches are needed to evidence research impact and generate learning for continual improvement. This is challenging in any research field, but especially for research that crosses disciplinary boundaries and intervenes in complex systems. Moreover, evaluation challenges at the project scale are compounded at the programme scale. The Forest, Trees and Agroforestry (FTA) research programme serves as an example of this evolution in research approach and the resulting evaluation challenges. FTA research is responding to the demand for greater impact with more engaged research following multiple pathways. However, research impact assessment in the CGIAR (Consultative Group on International Agricultural Research) was developed in a technology-centric context where counterfactual approaches of causal inference (experimental and quasi-experimental) predominate. Relying solely on such approaches is inappropriate for evaluating research contributions that target policy and institutional change and systems transformation. Instead, we propose a multifaceted, multi-scale, theory-based evaluation approach. This includes nested project- and programme-scale theories of change (ToCs); research quality assessment; theory-based outcome evaluations to empirically test ToCs and assess policy, institutional, and practice influence; experimental and quasi-experimental impact of FTA-informed ‘large n’ innovations; ex ante impact assessment to estimate potential impacts at scale; and logically and plausibly linking programme-level outcomes to secondary data on development and conservation status.

The word ‘remix’ marks venerable and longstanding creative practices and embeds them in a particular aesthetic, social and technological conjuncture. This is both the strength and the weakness of the term: in foreshortening the histories of that which it now names, it highlights the relationship between the participatory affordances of contemporary media technologies and the sense of contemporary media flows as recombinant; as involving the distributed reassembly, reconfiguration and circulation of pre-existing cultural and material elements. Remix situates this work as both artefact and practice, noun and verb. The risk is that in doing so, it is both dehistoricizing, and oddly anachronistic and ‘analogue’. One is always somehow waiting for the post-remix, or the premix (the ‘mix’ itself implies a slippage, an acknowledgement of multiplicity at the site of origin). Remix suggests some kind of authoriality and semiotic differentiability and sequence, pace Baudrillardian fantasies about the digital labour, prosumer, cognitive capitalist, copypasta meme factory. Remix is on a continuum on this trajectory, but at a point where we feel we can still see fairly confidently in both directions. This is one of the features of the term that gives it its ‘stickiness’: it is used, as our contributors show, to describe a wide range of practices. In turn, this attribute highlights some of the varying moral work that remix does as a predicate, in relation to ideas around originality, authorship and plagiarism; ownership, permission, and the commons; the autonomy or otherwise of culture from commerce; the cultural and social importance of the archive and the best means of engaging with it; the roles and functions of capital and the law with respect to contemporary ‘folk’ artistic practices; and the affective significance of the past and the passage of time. Remix suggests a certain kind of commemorative honouring of the past and of what we find meaningful in our common culture, inflected and sometimes problematized by the broader structures which mediate that culture to us. It implies also a technologization of how this honouring is conducted, a two-way mediatization, the widespread enculturation of particular communicative and distributive technological systems for getting the remix done. It implies a specific sociocultural and techno-aesthetic grammar. Like the various materials that are subject to remix, the word itself then is promiscuous. As such, both specificity and scope in understanding what remix ‘means’ entail investigations around and into the word as a kind of heuristic or analytic. Remixes are often local artefacts, exhibiting family resemblances in terms of the uses to which their intertextuality is put. These resemblances point towards the meaning-making practices present in those semantic, discursive, and social webs through which these artefacts become sensible. Much of the current literature promotes the idea (notable, for example, in the work of Lessig), that remix is some kind of intervention in the cultural economy, whereby audiences become liberated into participation in cultural production. This participation in cultural dialogue through remix is heralded as a new era of democratized consumer activism. The converse argument suggests that remix is wholly incorporated as ‘playbour’: users generate content for free, used by others for profit. Remix as ‘resistance’ seems to occur solely at the level of the sign, overlooking the extent to which vernacular creative work is rendered an integrative cultural commodity. The logical conclusion of this kind of argument is an emphasis (such as that found in Adorno) on the extent to which cultural commodities have colonized the lifeworld. Without recourse to the cultural resources given by neoliberal capitalism, nothing at all can be said, even by nonconformists. There is nothing outside the desiring machine. Indeed, the very fact that dissent is so often expressed exactly through the means given by dominant cultural systems shows just how insidious they are. But both of these accounts only get us so far. Effectively, they leave us in a remix-good/remix-bad binary. One account is not really ‘deeper’ than the other, because in a sense both are missing the larger point. The early fixation on the remix as itself a laudable cultural intervention tends to exacerbate the tendency towards these either-or readings. Dominant meanings are demonstrably contestable, and contested every day. Of course, the semiotic meaning of particular remixes and the means by which these remixes operate within the discursive or semiotic field require attention and interrogation. But these meanings and the practices that give rise to them are also read off, given, and sanctioned within specific social and cultural contexts and specific ethical, interpretive, and legal frameworks. These contexts and frameworks and their social logics require explication. Our argument here is not precisely that we need anthropological, sociological, legal, etc. accounts as well as textual analyses and deconstructions of particular remixes and remix forms and genres. It is that remix, as a hybrid cultural form and practice, is literally neither quite here nor there. An adequate grasp of remix and its implications entails empirical work, showing and unpacking what it is that makes remix important to the various and diverse communities who sustain it and are sustained by it. A good way in to this issue is to reflect on the permissibility or otherwise of the use of particular resources within a specific remix subculture; the moral limits of the remixable. In the feature article, fan fiction scholars Kristina Busse and Shannon Farley discuss the implications of an incident within a particular fan fiction community, where an as-yet-unarticulated norm regarding the limits of textual appropriation - specifically, the use without permission of the work of other fan fiction writers - came abruptly to collective attention. Drawing out the distinctions and nuances from this incident and contextualising it in relation to broader fan fiction community opinion, Busse and Farley carefully differentiate this infraction from plagiarism and from copyright infringement in emic terms, showing how fan-fiction writers themselves articulate, invoke and enact community with respect to such norms. Ruth Walker further elaborates on the concept of plagiarism by analysing academic quotation as a form of remix. Rather than ascribing to the stringent rules of referencing, Walker suggests that framing academic and student writing as a form of remix allows for a playful re-use of scholarly conventions and a more creative use of existing academic work. In ‘Locating Anti-Fandom in Extratextual Mash-ups’, Bertha Chin examines how the remix video Buffy vs Edward demonstrates anti-fandom responses to the Twilight series. By placing the ‘empowered’ role model of Buffy in the position of Bella, the romantic hero of Edward is suddenly re-framed as a self-obsessed stalker. Chin argues that rather than demonstrating fannish love for the texts, Buffy vs Edward is an anti-fandom critique of the troubling aspects of a popular series. In his article on slash manips, Joseph Brennan discusses a case study of visual slash - the combinatory digital manipulation of images of characters from popular media and gay pornography. Attending particularly to compositional strategy and the physical and bodily syntax of this often overlooked form of remix, Brennan’s argument inflects the dominant scholarly understandings of slash as a genre coded as ‘female’. In ‘Taking This from This and That from That’, Phillip Cunningham and Melinda Lewis make a case for considering the role remix, and pastiche specifically as a variant of intertextual poaching, plays in the directorial styles of RZA and Quentin Tarantino, and in the ‘self-fashioning’ particularly of RZA. Remix is here not a democratizing, niche strategy, but something central to creative practice within the core of the contemporary mass-market cultural industries. Cunningham and Lewis argue that the work of RZA highlights hybridity in multiple ways, particularly across both media form and the tropes of genre. Following this, Rob Cover proposes a new framework for the analysis of the remix as a text in ‘Reading the Remix’. Using the language of ‘layering’ drawn from digital manipulation terminology, the remix can be understood as a type of layered intermedia. Cover provides a concrete process for teaching remix analysis in an undergraduate classroom, drawing on a rich variety of theoretical models and methodologies. Attention in current debates about remix is frequently drawn to the institutional structures that go to make the practice more or less easy - or more or less easy to block. Olivia Conti’s paper uses the idea of the dialectical vernacular to describe YouTube and similar sites, as mediators between vernacular and institutional discourses (in this instance, political remix video-makers, and rights holders). Her account of the technico-legal mechanics of Youtube takedowns highlights the paradoxical status of political remix video, as something which both draws its political potential from its infringement of base material (in terms of the process itself, and the altered meanings of the content), and is rendered vulnerable to takedown by the same token. ‘Musical Chameleons’, Maarten Michielse’s piece drawing on extensive research on the online music remix community Indaba Music, returns attention to the perspectives of remixers themselves, considering in this instance what they hold to be valuable attributes for a remixer to have. Michielse develops work around the concepts of flexibility and fluency as aspects of creative practice, to describe what it is that competitive digital music remix producers strive for with respect to the musical materials they work with and on. Jonathon Hutchinson then explores the relationship between remix and the institution of public service media in his piece on textual reappropriation within the ABC. While public service broadcasters like the ABC have sought to encourage audience participation through user-generated content, the content of remixes is often controversial and opens the institution to public criticism or lawsuits. Using a case study of how the ABC responded to complaints of a particular remixer, Hutchinson examines the limits of creative remix in an institutional setting. The ethics and aesthetics of remix are further situated and explored by Patrick West and Cher Coad in their paper, ‘Drawing the line’, which explores disjunctive Chinese and Western ideas of the materialism of writing practice, namely calligraphy, particularly in relation to the charges of plagiarism laid against Kathy Acker’s novel Blood and Guts in High School. West and Coad use Deleuzian notions of the line and of repetition to expose and problematize received ideas of authoriality and textuality. Last but by no means least, Darren Tofts and Lisa Gye round off the issue with a discussion of the Classical Gas project, where canonical works in media and cultural theory are mashed fannishly up into album covers from the days when album covers meant something. Tofts and Gye reflect on their practice in the work that goes into these hilarious and oddly moving images, returning us to the haunting delight of the old made strange and the novelty of the unexpectedly familiar new that is part of the visceral appeal of remix culture. AcknowledgementsWe would like to thank the contributing authors, the anonymous, thoughtful and diligent peer reviewers, Axel Bruns and the M/C team, and the remix artists and communities who drew us all variously to this endeavour.

Introduction The exhibition of an artist’s work is traditionally accepted as representing the final stage of the creative process (Staniszewski). This article asks, however, whether this traditional view can be reassessed so that the curatorial practice of mounting an exhibition becomes, itself, a creative outcome feeding into work that may still be in progress, and that simultaneously operates as a learning and teaching tool. To provide a preliminary examination of the issue, we use a single case study approach, taking an example of practice currently used at an Australian university. In this program, internal and external students work together to develop and deliver an exhibition of their own work in progress. The exhibition space has a professional website (‘CQUniversity Noosa Exhibition Space’), many community members and the local media attend exhibition openings, and the exhibition (which runs for three to four weeks) becomes an outcome students can include in their curriculum vitae. This article reflects on the experiences, challenges, and outcomes that have been gained through this process over the past twelve months. Due to this time frame, the case study is exploratory and its findings are provisional. The case study is an appropriate method to explore a small sample of events (in this case exhibitions) as, following Merriam, it allows the construction of a richer picture of an under-examined phenomenon to be constructed. Although it is clear that this approach will not offer results which can be generalised, it can, nevertheless, assist in opening up a field for investigation and constructing a holistic account of a phenomenon (in this case, the exhibition space as authentic learning experience and productive teaching tool), for, as Merriam states, “much can be learned from a particular case” (51). Jennings adds that even the smallest case study is useful as it includes an “in-depth examination of the subject with which to confirm or contest received generalizations” (14). Donmoyer extends thoughts on this, suggesting that the single case study is extremely useful as the “restricted conception of generalizability … solely in terms of sampling and statistical significance is no longer defensible or functional” (45). Using the available student course feedback, anonymous end-of-term course evaluations, and other available information, this case study account offers an example of what Merriam terms a “narrative description” (51), which seeks to offer readers the opportunity to engage and “learn vicariously from an encounter with the case” (Merriam 51) in question. This may, we propose, be particularly productive for other educators since what is “learn[ed] in a particular case can be transferred to similar situations” (Merriam 51). Breaking Ground exhibition, CQUniversity Noosa Exhibition Space, 2014. Photo by Ulrike Sturm. Background The Graduate Certificate of Creative Industries (Creative Practice) (CQU ‘CB82’) was developed in 2011 to meet the national Australian Quality Framework agency’s Level 8 (Graduate Certificate) standards in terms of what is called in their policies, the “level” of learning. This states that, following the program, graduates from this level of program “will have advanced knowledge and skills for professional or highly skilled work and/or further learning … [and] will apply knowledge and skills to demonstrate autonomy, well-developed judgment, adaptability and responsibility as a practitioner or learner” (AQF). The program was first delivered in 2012 and, since then, has been offered both two and three terms a year, attracting small numbers of students each term, with an average of 8 to 12 students a term. To meet these requirements, such programs are sometimes developed to provide professional and work-integrated learning tasks and learning outcomes for students (Patrick et al., Smith et al.). In this case, professionally relevant and related tasks and outcomes formed the basis for the program, its learning tasks, and its assessment regime. To this end, each student enrolled in this program works on an individual, self-determined (but developed in association with the teaching team and with feedback from peers) creative/professional project that is planned, developed, and delivered across one term of study for full- time students and two terms for part- timers. In order to ensure the AQF-required professional-level outcomes, many projects are designed and/or developed in partnership with professional arts institutions and community bodies. Partnerships mobilised utilised in this way have included those with local, state, and national bodies, including the local arts community, festivals, and educational support programs, as well as private business and community organisations. Student interaction with curation occurs regularly at art schools, where graduate and other student shows are scheduled as a regular events on the calendar of most tertiary art schools (Al-Amri), and the curated exhibition as an outcome has a longstanding tradition in tertiary fine arts education (Webb, Brien, and Burr). Yet in these cases, it is ultimately the creative work on show that is the focus of the learning experience and assessment process, rather than any focus on engagement with the curatorial process itself (Dally et al.). When art schools do involve students in the curatorial process, the focus usually still remains on the students' creative work (Sullivan). Another interaction with curation is when students undertaking a tertiary-level course or program in museum, and/or curatorial practice are engaged in the process of developing, mounting, and/or critiquing curated activities. These programs are, however, very small in number in Australia, where they are only offered at postgraduate level, with the exception of an undergraduate program at the University of Canberra (‘215JA.2’). By adopting “the exhibition” as a component of the learning process rather than its end product, including documentation of students’ work in progress as exhibition pieces, and incorporating it into a more general creative industries focused program, we argue that the curatorial experience can become an interactive learning platform for students ranging from diverse creative disciplines. The Student Experience Students in the program under consideration in this case study come from a wide spectrum of the creative industries, including creative writing, film, multimedia, music, and visual arts. Each term, at least half of the enrolments are distance students. The decision to establish an on-campus exhibition space was an experimental strategy that sought to bring together students from different creative disciplines and diverse locations, and actively involve them in the exhibition development and curatorial process. As well as their individual project work, the students also bring differing levels of prior professional experience to the program, and exhibit a wide range of learning styles and approaches when developing and completing their creative works and exegetical reflections. To cater for the variations listed above, but still meet the program milestones and learning outcomes that must (under the program rules) remain consistent for each student, we employed a multi-disciplinary approach to teaching that included strategies informed by Gardner’s theory of multiple intelligences (Gardner, Frames of Mind), which proposed and defined seven intelligences, and repeatedly criticised what he identified as an over-reliance on linguistic and logical indices as identifiers of intelligence. He asserted that these were traditional indicators of high scores on most IQ measures or tests of achievement but were not representative of overall levels of intelligence. Gardner later reinforced that, “unless individuals take a very active role in what it is that they’re studying, unless they learn to ask questions, to do things hands on, to essentially re-create things in their own mind and transform them as is needed, the ideas just disappear” (Edutopia). In alignment with Gardner’s views, we have noted that students enrolled in the program demonstrate strengths in several key intelligence areas, particularly interpersonal, musical, body-kinaesthetic, and spacial/visual intelligences (see Gardner, ‘Multiple Intelligences’, 8–18). To cater for, and further develop, these strengths, and also for the external students who were unable to attend university-based workshop sessions, we developed a range of resources with various approaches to hands-on creative tasks that related to the projects students were completing that term. These resources included the usual scholarly articles, books, and textbooks but were also sourced from the print and online media, guest speaker presentations, and digital sites such as You Tube and TED Talks, and through student input into group discussions. The positive reception of these individual project-relevant resources is evidenced in the class online discussion forums, where consecutive groups of students have consistently reflected on the positive impact these resources have had on their individual creative projects: This has been a difficult week with many issues presenting. As part of our Free Writing exercise in class, we explored ‘brain dumping’ and wrote anything (no matter how ridiculous) down. The great thing I discovered after completing this task was that by allowing myself to not censor my thoughts by compiling a writing masterpiece, I was indeed “free” to express everything. …. … I understand that this may not have been the original intended goal of Free Writing – but it is something I would highly recommend external students to try and see if it works for you (Student 'A', week 5, term 1 2015, Moodle reflection point). I found our discussion about crowdfunding particularly interesting. ... I intend to look at this model for future exhibitions. I think it could be a great way for me to look into developing an exhibition of paintings alongside some more commercial collateral such as prints and cards (Student 'B', week 6, term 1 2015, Moodle reflection point). In class I specifically enjoyed the black out activity and found the online videos exceptional, inspiring and innovating. I really enjoyed this activity and it was something that I can take away and use within the classroom when educating (Student 'C', week 8, term 1 2015, Moodle reflection point). The application of Gardner’s principles and strategies dovetailed with our framework for assessing learning outcomes, where we were guided by Boud’s seven propositions for assessment reform in higher education, which aim to “set directions for change, designed to enhance learning achievements for all students and improve the quality of their experience” (26). Boud asserts that assessment has most effect when: it is used to engage students in productive learning; feedback is used to improve student learning; students and teachers become partners in learning and assessment; students are inducted into the assessment practices of higher education; assessment and learning are placed at the centre of subject and program design; assessment and learning is a focus for staff and institutional development; and, assessment provides inclusive and trustworthy representation of student achievement. These propositions were integral to the design of learning outcomes for the exhibition. Teachers worked with students, individually and as a group, to build their capacity to curate the exhibition, and this included such things as the design and administration of invitations, and also the physical placement of works within the exhibition space. In this way, teachers and students became partners in the process of assessment. The final exhibition, as a learning outcome, meant that students were engaged in productive learning that placed both assessment and knowledge at the centre of subject and project design. It is a collation of creative pieces that embodies the class, as a whole; however, each piece also represents the skills and creativity of individual students and, in this way, are is a trustworthy representations of student achievement. While we aimed to employ all seven recommendations, our main focus was on ensuring that the exhibition, as an authentic learning experience, was productive and that the students were engaged as responsible and accountable co-facilitators of it. These factors are particularly relevant as almost all the students were either currently working, or planning to work, in their chosen creative field, where the work would necessarily involve both publication, performance, and/or exhibition of their artwork plus collaborative practice across disciplinary boundaries to make this happen (Brien). For this reason, we provided exhibition-related coursework tasks that we hoped were engaging and that also represented an authentic learning outcome for the students. Student Curatorship In this context, the opportunity to exhibit their own works-in-progress provided an authentic reason, with a deadline, for students to both work, and reflect, on their creative projects. The documentation of each student’s creative process was showcased as a stand-alone exhibition piece within the display. These exhibits not only served not only to highlight the different learning styles of each student, but also proved to inspire creativity and skill development. They also provided a working model whereby students (and potential enrollees) could view other students’ work and creative processes from inception to fully-realised project outcomes. The sample online reflections quoted above not only highlight the effectiveness of the online content delivery, but this engagement with the online forum also allowed remote students to comment on each other’s projects as well as to and respond to issues they were encountering in their project planning and development and creative practice. It was essential that this level of peer engagement was fostered for the curatorial project to be viable, as both internal and external students are involved in designing the invitation, catalogue, labels, and design of the space, while on-campus students hang and label work according to the group’s directions. Distance students send in items. This is a key point of this experiment: the process of curating an exhibition of work from diverse creative fields, and from students located thousands of kilometres apart, as a way of bringing cohesion to a diverse cohort of students. That cohesiveness provided an opportunity for authentic learning to occur because it was in relation to a task that each student apparently understood as personally, academically, and professionally relevant. This was supported by the anonymous course evaluation comments, which were overwhelmingly positive about the exhibition process – there were no negative comments regarding this aspect of the program, and over 60 per cent of the class supplied these evaluations. This also met a considerable point of anxiety in the current university environment whereby actively engaging students in online learning interactions is a continuing issue (Dixon, Dixon, and Axmann). A key question is: what relevance does this curatorial process have for a student whose field is not visual art, but, for instance, music, film, or writing? By displaying documentation of work in progress, this process connects students of all disciplines with an audience. For example, one student in 2014 who was a singer/songwriter, had her song available to be played on a laptop, alongside photographs of the studio when she was recording her song with her band. In conjunction with this, the cover artwork for her CD, together with the actual CD and CD cover, were framed and exhibited. Another student, who was also a musician but who was completing a music history project, sent in pages of the music transcriptions he had been working on during the course. This manuscript was bound and exhibited in a way that prompted some audience members to commented that it was like an artist’s book as well as a collection of data. Both of these students lived over 1,000 kilometres from the campus where the exhibition was held, but they were able to share with us as teaching staff, as well as with other students who were involved in the physical setting up of the exhibition, exactly how they envisaged their work being displayed. The feedback from both of these students was that this experience gave them a strong connection to the program. They described how, despite the issue of distance, they had had the opportunity to participate in a professional event that they were very keen to include on their curricula vitae. Another aspect of students actively participating in the curation of an exhibition which features work from diverse disciplines is that these students get a true sense of the collaborative interconnectedness of the disciplines of the creative industries (Brien). By way of example, the exhibit of the singer/songwriter referred to above involved not only the student and her band, but also the photographer who took the photographs, and the artist who designed the CD cover. Students collaboratively decided how this material was handled in the exhibition catalogue – all these names were included and their roles described. Breaking Ground exhibition, CQUniversity Noosa Exhibition Space, 2014. Photo by Ulrike Sturm. Outcomes and Conclusion We believe that the curation of an exhibition and the delivery of its constituent components raises student awareness that they are, as creatives, part of a network of industries, developing in them a genuine understanding of the way the creating industries works as a profession outside the academic setting. It is in this sense that this curatorial task is an authentic learning experience. In fact, what was initially perceived as a significant challenge—, that is, exhibiting work in progress from diverse creative fields—, has become a strength of the curatorial project. In reflecting on the experiences and outcomes that have occurred through the implementation of this example of curatorial practice, both as a learning tool and as a creative outcome in its own right, a key positive indicator for this approach is the high level of student satisfaction with the course, as recorded in the formal, anonymous university student evaluations (with 60–100 per cent of these completed for each term, when the university benchmark is 50 per cent completion), and the high level of professional outcomes achieved post-completion. The university evaluation scores have been in the top (4.5–5/.5) range for satisfaction over the program’s eight terms of delivery since 2012. Particularly in relation to subsequent professional outcomes, anecdotal feedback has been that the curatorial process served as an authentic and engaged learning experience because it equipped the students, now graduates, of the program with not only knowledge about how exhibitions work, but also a genuine understanding of the web of connections between the diverse creative arts and industries. Indeed, a number of students have submitted proposals to exhibit professionally in the space after graduation, again providing anecdotal feedback that the experience they gained through our model has had a sustaining impact on their creative practice. While the focus of this activity has been on creative learning for the students, it has also provided an interesting and engaging teaching experience for us as the program’s staff. We will continue to gather evidence relating to our model, and, with the next iteration of the exhibition project, a more detailed comparative analysis will be attempted. At this stage, with ethics approval, we plan to run an anonymous survey with all students involved in this activity, to develop questions for a focus group discussion with graduates. We are also in the process of contacting alumni of the program regarding professional outcomes to map these one, two, and five years after graduation. We will also keep a record of what percentage of students apply to exhibit in the space after graduation, as this will also be an additional marker of how professional and useful they perceive the experience to be. In conclusion, it can be stated that the 100 per cent pass rate and 0 per cent attrition rate from the program since its inception, coupled with a high level (over 60 per cent) of student progression to further post-graduate study in the creative industries, has not been detrimentally affected by this curatorial experiment, and has encouraged staff to continue with this approach. References Al-Amri, Mohammed. “Assessment Techniques Practiced in Teaching Art at Sultan Qaboos University in Oman.” International Journal of Education through Art 7.3 (2011): 267–282. AQF Levels. Australian Qualifications Framework website. 18 June 2015 ‹http://www.aqf.edu.au/aqf/in-detail/aqf-levels/›. Boud, D. Student Assessment for Learning in and after Courses: Final Report for Senior Fellowship. Sydney: Australian Learning and Teaching Council, 2010. 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Introduction The steady rise of Wikipedia.org and the Open Source software movement has been one of the big surprises of the 21st century, threatening stalwarts such as Microsoft and Britannica, while simultaneously offering insights into the emergence of large-scale peer production and the growth of gift economies. Many questions arise when confronted with the streamlined efficacy and apparent lack of organisation and motivation of these new global enterprises, not least “how does this work?” Stigmergic collaboration provides a hypothesis as to how the collaborative process could jump from being untenable with numbers above 25 people, towards becoming a new driver in global society with numbers well over 25,000. Stigmergic Collaboration Pierre-Paul Grasse first coined the term stigmergy in the 1950s in conjunction with his research on termites. Grasse showed that a particular configuration of a termite’s environment (as in the case of building and maintaining a nest) triggered a response in a termite to modify its environment, with the resulting modification in turn stimulating the response of the original or a second worker to further transform its environment. Thus the regulation and coordination of the building and maintaining of a nest was dependent upon stimulation provided by the nest, as opposed to an inherent knowledge of nest building on the individual termite’s part. A highly complex nest simply self-organises due to the collective input of large numbers of individual termites performing extraordinarily simple actions in response to their local environment. Since Grasse’s research, stigmergy has been applied to the self-organisation of ants, artificial life, swarm intelligence and more recently, the Internet itself. As stigmergy is a method of communication in which individuals communicate with one another by modifying their local environment, it is a logical extension to apply the term to many types (if not all) of Web-based communication, especially media such as the wiki. The concept of stigmergy therefore provides an intuitive and easy-to-grasp theory for helping understand how disparate, distributed, ad hoc contributions could lead to the emergence of the largest collaborative enterprises the world has seen. However, is it correct to call these enterprises “collaboration”? References to collaboration can be found in a staggering number of topics including, but not limited to, art, science, industry, business, education, technology, software design, medicine, and civil society. The research being conducted in these diverse areas, however, is still confined to institutional silos. This makes it challenging to develop a cross-disciplinary theoretical framework that goes beyond a dictionary definition and provides insight into the collaborative process in application-oriented contexts. The following represents some of the current findings of the author’s PhD research on and around collaboration and stigmergic collaboration, and comprises the core components of the theoretical framework guiding this article: Collaboration is dependent upon communication, and communication is a network phenomenon. Collaboration is inherently composed of two primary components, without either of which collaboration cannot take place: social negotiation and creative output. Collaboration in small groups (roughly 2-25) relies upon social negotiation to evolve and guide its process and creative output. Collaboration in large groups (roughly 25-n) is enabled by stigmergy. 1. Collaboration is dependent upon communication, and communication is a network phenomenon. Collaboration being dependent upon communication (in some form or another) is self-evident and requires no explanation (collaboration cannot be a solo venture), and the notion that communication is a network phenomenon is also reasonably intuitive. However it should be stressed that communication not only makes use of networks as channels, but also generates networks through its very being—entities communicating using any medium become connected nodes. Both these factors—collaboration requiring communication, and communication being a network phenomenon—make collaboration especially well suited to the Internet’s hyperlinked network structure. 2. Collaboration is inherently composed of two primary components, without either of which collaboration cannot take place: social negotiation and creative output. That collaboration is inherently composed of two primary components—social negotiation and creative output—is not to say that there aren’t other important components, but rather that these two are fundamental to the process as it is generally regarded. In formulating a theory of stigmergic collaboration, it is important to note that the social negotiation that takes place during collaboration may be implicit and unknown to the participants. As collaboration is a fundamental biological behaviour which takes place anywhere humans work together, it is not necessary to ‘know’ that one must negotiate one’s identity, values and ideas prior to and during collaboration. By simply being in the presence of other humans one can collaborate without having any regard for or knowledge of the process’s existence. However, even if it is unconscious, social negotiation (the delineation and identification of personal boundaries, interests, stakes, objectives, etc.) must take place as the result of the communication required by collaboration. Another caveat to the second primary component, creative output, is that the output may take the form of an ongoing process instead of a final conclusion. An example would be an intimate relationship—the parties involved may collaborate very closely towards the successful continuance of the collaborative process. 3. Collaboration in small groups (roughly 2-25) relies upon social negotiation to evolve and guide its process and creative output. Research has shown that the ideal size for collaborating groups (where technology is not being used in any way) is 2-8, with an upper limit of around 25 (Lipnack & Stamps 180-1). In these smaller groups, successful collaboration is generally reliant upon social negotiation to evolve and guide the development of the group’s creative output. In such scenarios, discussion plays a key role in the negotiation of emergent, shared understandings—this is, perhaps, the essence of face-to-face collaboration. Discussion acts as a point of mediation between the individual collaborators and the creative outcome which may or may not eventuate. It is in this shared space, the space ‘between’ the participants, where the traditional collaborative process develops its third member—that is, the member who is the sum of the whole and who seems to guide the process while developing ideas that are beyond the individual contributors’ capacities. 4. Collaboration in large groups (roughly 25-n) is dependent upon stigmergy. Although social mediation is an inherent part of collaboration, when applied in traditional face-to-face collaboration social mediation can provide a barrier to the rapid and seamless integration of contributions that characterises projects such as Wikipedia.org and the Open Source software movement. It may be that there is simply so much complex information to be negotiated when people communicate directly that the negotiations of the many collapse under their own weight without the mediation of an administrative/stigmergic system. This is not to say that social negotiation does not take place in stigmergic collaborative contexts—it may even be essential to developing the collaborative community—but rather that negotiation takes a back seat in terms of the creative drafting process. Most (if not all) stigmergic wiki collaborations have discussions associated with the content being developed, but it is possible to contribute (to Wikipedia.org, for instance) without discussing what you are contributing to or creating. Conversely, it is also possible to take part in discussion without editing an article. Although such discussions are most certainly an important and perhaps crucial form of contribution, they are typically secondary to the objectives of the overall project. For an example of a discussion accompanying mass collaboration, see the Israel talk page at Wikipedia.org. In addition to such points of discussion, bulletin boards, IRC (chat) and e-mail lists often support and augment the negotiation. Stigmergic Wiki Collaboration as Distinct from Co-Authoring From the perspective of individual sites of work within a stigmergic collaboration (effectively Web pages in the context of a wiki), the activity may appear to be identical to that of co-authoring—with the exception that the process is augmented by a few key elements. The most prominent of these elements is the aforementioned lack of discourse required to initiate and partake in collaboration. The use of stigmergic communication to sidestep social negotiation effectively fast-tracks the creative gestation period, removes social boundaries and as a consequence lowers the ‘costs’ of contribution by eliminating the need to become acquainted with and maintain relationships with fellow contributors. This is not to say that developing and maintaining relationships with co-authors isn’t a valuable thing to do, or that it isn’t possible during a stigmergic collaboration, but rather that it isn’t a fundamental part of this collaborative process, whereas it is in traditional co-authorship. Backing away from the perspective of individual collaborative loci and taking a wider view, multiple contributions to stigmergic collaborations naturally form clusters representing the contributors’ interests. One’s contributions might also overlap with those of others, thereby generating sets of collaborators linked via their contributions, personal interests and shared discourse. These “contributor groups” form networks that may operate either implicitly or explicitly, with groups actively working together or (and perhaps more frequently) remaining largely unknown to each other. Networks that allow such user groups to self-organise, known as ’group forming networks’, have been identified in research as being one of the more powerful drivers of network value which may have contributed significantly to the growth of giants such as Ebay, Wikipedia.org, the Open Source software movement and even the Internet itself. The interdependence of collaborative loci, drafted by a large number of people and mediated by the encoding of a local environment, is what gives stigmergic collaboration one of its most distinguishing features and sets it apart from traditional co-authorship: a coherent collaborative domain emerging from the interrelated, implicitly coordinated efforts of many individuals and groups of contributors. Non-Textual Mass Collaboration It is important to note that although the examples of stigmergic collaboration given in this article are of wiki collaborations, the process is not limited to the use of the wiki, or for that matter, the textual medium. The Open Source software movement may provide examples outside of the use of wikis, although the code collaboratively created still exists as a language utilizing a textual (ASCII) medium. SourceForge.net provides many examples of such code-based stigmergic collaborations with its source code repositories. An example for stigmergic collaboration that transcends and includes the textual medium is the IHMC CMapTools server network. CMapTools is essentially open source concept mapping software with the additional functionality of allowing for maps to be accessed via the Internet”. Once accessed (if permissions are granted by the map owner), additional collaborators can add/edit/delete the contents of a map or link to another map in a similar way that an editor might in a wiki collaboration, linking from page to page. The CMap software also allows for synchronous collaboration, functionality which goes beyond the current asynchronous editing of wikis, providing the participant with a more connected sense of their collaborator’s engagement. However, it might be that such connection may disrupt a sense of distance that enables a wiki editor to contribute with less self-consciousness about their work than they would have if they knew someone was watching their drafting process. The value of a real-time wiki has yet to be extensively evaluated, although the functionality is emerging. It might be that such features will change the dynamics of stigmergic collaboration, returning them to a more traditional collaborative process by stimulating direct social engagement between contributors, however it is equally if not more likely that the ability to edit synchronously while maintaining stigmergic mediation, will only produce more novel collaborative dynamics. Beyond these examples, there is no immediate reason why the stigmergic collaborative process couldn’t work in non-textual media such as sound or image—imagine a ‘wiki style’ documentary or concerto. It is likely, given the wide range of experimentation taking place on the Internet today, that such projects are already being developed. In these directions the strongest innovations could be made, as this would provide for the availability of all media for expression. This would not only open up collaborative opportunities to new media, but also to new user groups. Providing the systems were intuitive and easy to use, having the ability to collaborate in non-textual media could significantly reduce literacy hurdles to and provide incentive for those currently less inclined to seek access to the Internet’s wealth of information and opportunities. With the ability to upload, share and edit common media, it may be that Flickr, YouTube and especially JumpCut having the ability to ‘remix’ a shared video work using an online editor, may already be developing in this direction. Conclusion The phenomenon of stigmergic collaboration as described in this paper (collective, distributed action in which social negotiation is stigmergically mediated by Internet-based technologies) is most surely still in its infancy and will continue to evolve with technology and its social/cultural applications. Further, it seems likely that this process will expand to include the pantheon of core media—text, audio, still and moving image—and will play an increasing part in the creation and dissemination of the entertainment, news, and policy of the future. Considering this, future research into the dynamics of stigmergy might focus on the cross-disciplinary transfer of knowledge from work carried out in the insect, robotics and artificial intelligence worlds in order to learn how to better apply and extend this new collaborative process. References Crabtree, Andy. Designing Collaborative Systems: A Practical Guide to Ethnography. London: Springer-Verlag, 2003. Désilets, A., S. Paquet. Wiki as a Tool for Web-based Collaborative Story Telling in Primary School: A Case Study. 2005. National Research Council Canada. 25 Feb. 2006. <http://iit-iti.nrc-cnrc.gc.ca/publications/nrc-48234_e.html>. Emigh, William, Susan C. Herring. “Collaborative Authoring on the Web: A Genre Analysis of Online Encyclopedias.” Proceedings from the Thirty-Eighth Hawaii International Conference on System Sciences. 21 Feb. 2006. http://www.slis.indiana.edu/faculty/herring/pubs.html>. Kelly, Kevin. Out of Control: The New Biology of Machines. London: Fourth Estate, 1994. Lipnack, J., J. Stamps. Virtual Teams. Canada: John Wiley & Sons, 2000. Metacollab.net. 1 Mar. 2006 http://metacollab.net>. Rheingold, Howard. Smart Mobs. Cambridge MA.: Basic Books, 2002. Saveri, Andrea, Howard Rheingold, Alex Soojung-Kim Pang, Kathi Vian. Cooperation in Business: Managing Dilemmas in the 21st Century. Menlo Park, CA: Institute for the Future, 2004. Viegas, Fernanda, Martin Wattenberg, Kushal Dave. Studying Cooperation and Conflict between Authors with History Flow Visualisations. 2004. Available at MIT’s Free / Opensource Research Community Website. 19 Aug. 2005 http://opensource.mit.edu/online_papers.php>. Wenger, Etienne. Communites of Practice: Learning, Meaning, and Identity. Cambridge, UK: Cambridge UP, 1998. Wikipedia.org. 4 Mar. 2006 http://en.wikipedia.org/>. Wright, Robert. Nonzero: The Logic of Human Destiny. NY: Pantheon Books, 2000. Citation reference for this article MLA Style Elliott, Mark. "Stigmergic Collaboration: The Evolution of Group Work." M/C Journal 9.2 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0605/03-elliott.php>. APA Style Elliott, M. (May 2006) "Stigmergic Collaboration: The Evolution of Group Work," M/C Journal, 9(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0605/03-elliott.php>.

IntroductionThis essay considers three design projects as microprotests. Reflecting on the ways design practice can generate spaces, sites and methods of protest, we use the concept of microprotest to consider how we, as designers ourselves, can protest by scaling down, focussing, slowing down and paying attention to the edges of our practice. Design microprotest is a form of design activism that is always collaborative, takes place within a community, and involves careful translation of a political conversation. While microprotest can manifest in any design discipline, in this essay we focus on visual communication design. In particular we consider the deep, reflexive practice of listening as the foundation of microprotests in visual communication design.While small in scale and fleeting in duration, these projects express rich and deep political engagements through conversations that create and maintain safe spaces. While many design theorists (Julier; Fuad-Luke; Clarke; Irwin et al.) have done important work to contextualise activist design as a broad movement with overlapping branches (social design, community design, eco-design, participatory design, critical design, and transition design etc.), the scope of our study takes ‘micro’ as a starting point. We focus on the kind of activism that takes shape in moments of careful design; these are moments when designers move politically, rather than necessarily within political movements. These microprotests respond to community needs through design more than they articulate a broad activist design movement. As such, the impacts of these microprotests often go unnoticed outside of the communities within which they take place. We propose, and test in this essay, a mode of analysis for design microprotests that takes design activism as a starting point but pays more attention to community and translation than designers and their global reach.In his analysis of design activism, Julier proposes “four possible conceptual tactics for the activist designer that are also to be found in particular qualities in the mainstream design culture and economy” (Julier, Introduction 149). We use two of these tactics to begin exploring a selection of attributes common to design microprotests: temporality – which describes the way that speed, slowness, progress and incompletion are dealt with; and territorialisation – which describes the scale at which responsibility and impact is conceived (227). In each of three projects to which we apply these tactics, one of us had a role as a visual communicator. As such, the research is framed by the knowledge creating paradigm described by Jonas as “research through design”.We also draw on other conceptualisations of design activism, and the rich design literature that has emerged in recent times to challenge the colonial legacies of design studies (Schultz; Tristan et al.; Escobar). Some analyses of design activism already focus on the micro or the minor. For example, in their design of social change within organisations as an experimental and iterative process, Lensjkold, Olander and Hasse refer to Deleuze and Guattari’s minoritarian: “minor design activism is ‘a position in co-design engagements that strives to continuously maintain experimentation” (67). Like minor activism, design microprotests are linked to the continuous mobilisation of actors and networks in processes of collective experimentation. However microprotests do not necessarily focus on organisational change. Rather, they create new (and often tiny) spaces of protest within which new voices can be heard and different kinds of listening can be done.In the first of our three cases, we discuss a representation of transdisciplinary listening. This piece of visual communication is a design microprotest in itself. This section helps to frame what we mean by a safe space by paying attention to the listening mode of communication. In the next sections we explore temporality and territorialisation through the design microprotests Just Spaces which documents the collective imagining of safe places for LBPQ (Lesbian, Bisexual, Pansexual, and Queer) women and non-binary identities through a series of graphic objects and Conversation Piece, a book written, designed and published over three days as a proposition for a collective future. A Representation of Transdisciplinary ListeningThe design artefact we present in this section is a representation of listening and can be understood as a microprotest emerging from a collective experiment that materialises firstly as a visual document asking questions of the visual communication discipline and its role in a research collaboration and also as a mirror for the interdisciplinary team to reflexively develop transdisciplinary perspectives on the risks associated with the release of environmental flows in the upper reaches of Hawkesbury Nepean River in NSW, Australia. This research project was funded through a Challenge Grant Scheme to encourage transdisciplinarity within the University. The project team worked with the Hawkesbury Nepean Catchment Management Authority in response to the question: What are the risks to maximising the benefits expected from increased environmental flows? Listening and visual communication design practice are inescapably linked. Renown American graphic designer and activist Sheila de Bretteville describes a consciousness and a commitment to listening as an openness, rather than antagonism and argument. Fiumara describes listening as nascent or an emerging skill and points to listening as the antithesis of the Western culture of saying and expression.For a visual communication designer there is a very specific listening that can be described as visual hearing. This practice materialises the act of hearing through a visualisation of the information or knowledge that is shared. This act of visual hearing is a performative process tracing the actors’ perspectives. This tracing is used as content, which is then translated into a transcultural representation constituted by the designerly act of perceiving multiple perspectives. The interpretation contributes to a shared project of transdisciplinary understanding.This transrepresentation (Fig. 1) is a manifestation of a small interaction among a research team comprised of a water engineer, sustainable governance researcher, water resource management researcher, environmental economist and a designer. This visualisation is a materialisation of a structured conversation in response to the question What are the risks to maximising the benefits expected from increased environmental flows? It represents a small contribution that provides an opportunity for reflexivity and documents a moment in time in response to a significant challenge. In this translation of a conversation as a visual representation, a design microprotest is made against reduction, simplification, antagonism and argument. This may seem intangible, but as a protest through design, “it involves the development of artifacts that exist in real time and space, it is situated within everyday contexts and processes of social and economic life” (Julier 226). This representation locates conversation in a visual order that responds to particular categorisations of the political, the institutional, the socio-economic and the physical in a transdisciplinary process that focusses on multiple perspectives.Figure 1: Transrepresentation of responses by an interdisciplinary research team to the question: What are the risks to maximising the benefits expected from increased environmental flows in the Upper Hawkesbury Nepean River? (2006) Just Spaces: Translating Safe SpacesListening is the foundation of design microprotest. Just Spaces emerged out of a collaborative listening project It’s OK! An Anthology of LBPQ (Lesbian, Bisexual, Pansexual and Queer) Women’s and Non-Binary Identities’ Stories and Advice. By visually communicating the way a community practices supportive listening (both in a physical form as a book and as an online resource), It’s OK! opens conversations about how LBPQ women and non-binary identities can imagine and help facilitate safe spaces. These conversations led to thinking about the effects of breaches of safe spaces on young LBPQ women and non-binary identities. In her book The Cultural Politics of Emotion, Sara Ahmed presents Queer Feelings as a new way of thinking about Queer bodies and the way they use and impress upon space. She makes an argument for creating and imagining new ways of creating and navigating public and private spaces. As a design microprotest, Just Spaces opens up Queer ways of navigating space through a process Ahmed describes as “the ‘non-fitting’ or discomfort .... an opening up which can be difficult and exciting” (Ahmed 154). Just Spaces is a series of workshops, translated into a graphic design object, and presented at an exhibition in the stairwell of the library at the University of Technology Sydney. It protests the requirement of navigating heteronormative environments by suggesting ‘Queer’ ways of being in and designing in space. The work offers solutions, suggestions, and new ways of doing and making by offering design methods as tools of microprotest to its participants. For instance, Just Spaces provides a framework for sensitive translation, through the introduction of a structure that helps build personas based on the game Dungeons and Dragons (a game popular among certain LGBTQIA+ communities in Sydney). Figure 2: Exhibition: Just Spaces, held at UTS Library from 5 to 27 April 2018. By focussing the design process on deep listening and rendering voices into visual translations, these workshops responded to Linda Tuhiwai Smith’s idea of the “outsider within”, articulating the way research should be navigated in vulnerable groups that have a history of being exploited as part of research. Through reciprocity and generosity, trust was generated in the design process which included a shared dinner; opening up participant-controlled safe spaces.To open up and explore ideas of discomfort and safety, two workshops were designed to provide safe and sensitive spaces for the group of seven LBPQ participants and collaborators. Design methods such as drawing, group imagining and futuring using a central prototype as a prompt drew out discussions of safe spaces. The prototype itself was a small folded house (representative of shelter) printed with a number of questions, such as:Our spaces are often unsafe. We take that as a given. But where do these breaches of safety take place? How was your safe space breached in those spaces?The workshops resulted in tangible objects, made by the participants, but these could not be made public because of privacy implications. So the next step was to use visual communication design to create sensitive and honest visual translations of the conversations. The translations trace images from the participants’ words, sketches and notes. For example, handwritten notes are transcribed and reproduced with a font chosen by the designer based on the tone of the comment and by considering how design can retain the essence of person as well as their anonymity. The translations focus on the micro: the micro breaches of safety; the interactions that take place between participants and their environment; and the everyday denigrating experiences that LBPQ women and non-binary identities go through on an ongoing basis. This translation process requires precise skills, sensitivity, care and deep knowledge of context. These skills operate at the smallest of scales through minute observation and detailed work. This micro-ness translates to the potential for truthfulness and care within the community, as it establishes a precedent through the translations for others to use and adapt for their own communities.The production of the work for exhibition also occurred on a micro level, using a Risograph, a screenprinting photocopier often found in schools, community groups and activist spaces. The machine (ME9350) used for this project is collectively owned by a co-op of Sydney creatives called Rizzeria. Each translation was printed only five times on butter paper. Butter paper is a sensitive surface but difficult to work with making the process slow and painstaking and with a lot of care.All aspects of this process and project are small: the pieced-together translations made by assembling segments of conversations; zines that can be kept in a pocket and read intimately; the group of participants; and the workshop and exhibition spaces. These small spaces of safety and their translations make possible conversations but also enable other safe spaces that move and intervene as design microprotests. Figure 3: Piecing the translations together. Figure 4: Pulling the translation off the drum; this was done every print making the process slow and requiring gentleness. This project was and is about slowing down, listening and visually translating in order to generate and imagine safe spaces. In this slowness, as Julier describes “...the activist is working in a more open-ended way that goes beyond the materialization of the design” (229). It creates methods for listening and collaboratively generating ways to navigate spaces that are fraught with micro conflict. As an act of territorialisation, it created tiny and important spaces as a design microprotest. Conversation Piece: A Fast and Slow BookConversation Piece is an experiment in collective self-publishing. It was made over three days by Frontyard, an activist space in Marrickville, NSW, involved in community “futuring”. Futuring for Frontyard is intended to empower people with tools to imagine and enact preferred futures, in contrast to what design theorist Tony Fry describes as “defuturing”, the systematic destruction of possible futures by design. Materialised as a book, Conversation Piece is also an act of collective futuring. It is a carefully designed process for producing dialogues between unlikely parties using an image archive as a starting point. Conversation Piece was designed with the book sprint format as a starting point. Founded by software designer Adam Hyde, book sprints are a method of collectively generating a book in just a few days then publishing it. Book sprints are related to the programming sprints common in agile software development or Scrum, which are often used to make FLOSS (Free and Open Source Software) manuals. Frontyard had used these techniques in a previous project to develop the Non Cash Arts Asset Platform.Conversation Piece was also modeled on two participatory books made during sprints that focussed on articulating alternative futures. Collaborative Futures was made during Transmediale in 2009, and Futurish: Thinking Out Loud about Futures (2015).The design for Conversation Piece began when Frontyard was invited to participate in the Hobiennale in 2017, a free festival emerging from the “national climate of uncertainty within the arts, influenced by changes to the structure of major arts organisations and diminishing funding opportunities.” The Hobiennale was the first Biennale held in Hobart, Tasmania, but rather than producing a standard large art survey, it focussed on artist-run spaces and initiatives, emergant practices, and marginalised voices in the arts. Frontyard is not an artist collective and does not work for commissions. Rather, the response to the invitation was based on how much energy there was in the group to contribute to Hobiennale. At Frontyard one of the ways collective and individual energy is accounted for is using spoon theory, a disability metaphor used to describe the planning that many people have to do to conserve and ration energy reserves in their daily lives (Miserandino). As outlined in the glossary of Conversation Piece, spoon theory is:A way of accounting for our emotional or physical energy and therefore our ability to participate in activities. Spoon theory can be used to collaborate with care and avoid guilt and burn out. Usually spoon theory is applied at an individual level, but it can also be used by organisations. For example, Hobiennale had enough spoons to participate in the Hobiennale so we decided to give it a go. (180)To make to book, Frontyard invited visitors to Hobiennale to participate in a series of open conversations that began with the photographic archive of the organisation over the two years of its existence. During a prototyping session, Frontyard designed nine diagrams that propositioned ways to begin conversations by combining images in different ways. Figure 5: Diagram 9. Conversation Piece: p.32-33One of the purposes of the diagrams, and the book itself, was to bring attention to the micro dynamics of conversation over time, and to create a safe space to explore the implications of these. While the production process and the book itself is micro (ten copies were printed and immediately given away), the decisions made in regards to licensing (a creative commons license is used), distribution (via the Internet Archive) and content generation (through participatory design processes) the project’s commitment to open design processes (Van Abel, Evers, Klaassen and Troxler) mean its impact is unpredictable. Counter-logical to the conventional copyright of books, open design borrows its definition - and at times its technologies and here its methods - from open source software design, to advocate the production of design objects based on fluid and shared circulation of design information. The tension between the abundance produced by an open approach to making, and the attention to the detail of relationships produced by slowing down and scaling down communication processes is made apparent in Conversation Piece:We challenge ourselves at Frontyard to keep bureaucratic processes as minimal an open as possible. We don’t have an application or acquittal process: we prefer to meet people over a cup of tea. A conversation is a way to work through questions. (7)As well as focussing on the micro dynamics of conversations, this projects protests the authority of archives. It works to dismantle the hierarchies of art and publishing through the design of an open, transparent, participatory publishing process. It offers a range of propositions about alternative economies, the agency of people working together at small scales, and the many possible futures in the collective imaginaries of people rethinking time, outcomes, results and progress.The contributors to the book are those in conversation – a complex networks of actors that are relationally configured and themselves in constant change, so as Julier explains “the object is subject to constant transformations, either literally or in its meaning. The designer is working within this instability.” (230) This is true of all design, but in this design microprotest, Frontyard works within this instability in order to redirect it. The book functions as a series of propositions about temporality and territorialisation, and focussing on micro interventions rather than radical political movements. In one section, two Frontyard residents offer a story of migration that also serves as a recipe for purslane soup, a traditional Portuguese dish (Rodriguez and Brison). Another lifts all the images of hand gestures from the Frontyard digital image archive and represents them in a photo essay. Figure 6: Talking to Rocks. Conversation Piece: p.143ConclusionThis article is an invitation to momentarily suspend the framing of design activism as a global movement in order to slow down the analysis of design protests and start paying attention to the brief moments and small spaces of protest that energise social change in design practice. We offered three examples of design microprotests, opening with a representation of transdisciplinary listening in order to frame design as a way if interpreting and listening as well as generating and producing. The two following projects we describe are collective acts of translation: small, momentary conversations designed into graphic forms that can be shared, reproduced, analysed, and remixed. Such protests have their limitations. Beyond the artefacts, the outcomes generated by design microprotests are difficult to identify. While they push and pull at the temporality and territorialisation of design, they operate at a small scale. How design microprotests connect to global networks of protest is an important question yet to be explored. The design practices of transdisciplinary listening, Queer Feelings and translations, and collaborative book sprinting, identified in these design microprotests change the thoughts and feelings of those who participate in ways that are impossible to measure in real time, and sometimes cannot be measured at all. Yet these practices are important now, as they shift the way designers design, and the way others understand what is designed. By identifying the common attributes of design microprotests, we can begin to understand the way necessary political conversations emerge in design practice, for instance about safe spaces, transdisciplinarity, and archives. Taking a research through design approach these can be understood over time, rather than just in the moment, and in specific territories that belong to community. They can be reconfigured into different conversations that change our world for the better. References Ahmed, Sara. “Queer Feelings.” The Cultural Politics of Emotion. Edinburgh: Edinburgh UP, 2004. 143-167.Clarke, Alison J. "'Actions Speak Louder': Victor Papanek and the Legacy of Design Activism." Design and Culture 5.2 (2013): 151-168.De Bretteville, Sheila L. Design beyond Design: Critical Reflection and the Practice of Visual Communication. Ed. Jan van Toorn. Maastricht: Jan van Eyck Akademie Editions, 1998. 115-127.Evers, L., et al. Open Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers, 2011.Escobar, Arturo. Designs for the Pluriverse: Radical Interdependence, Autonomy, and the Making of Worlds. Duke UP, 2018.Fiumara, G.C. The Other Side of Language: A Philosophy of Listening. London: Routledge, 1995.Fuad-Luke, Alastair. Design Activism: Beautiful Strangeness for a Sustainable World. London: Routledge, 2013.Frontyard Projects. 2018. Conversation Piece. Marrickville: Frontyard Projects. Fry, Tony. A New Design Philosophy: An Introduction to Defuturing. Sydney: UNSW P, 1999.Hanna, Julian, Alkan Chipperfield, Peter von Stackelberg, Trevor Haldenby, Nik Gaffney, Maja Kuzmanovic, Tim Boykett, Tina Auer, Marta Peirano, and Istvan Szakats. Futurish: Thinking Out Loud about Futures. Linz: Times Up, 2014. Irwin, Terry, Gideon Kossoff, and Cameron Tonkinwise. "Transition Design Provocation." Design Philosophy Papers 13.1 (2015): 3-11.Julier, Guy. "From Design Culture to Design Activism." Design and Culture 5.2 (2013): 215-236.Julier, Guy. "Introduction: Material Preference and Design Activism." Design and Culture 5.2 (2013): 145-150.Jonas, W. “Exploring the Swampy Ground.” Mapping Design Research. Eds. S. Grand and W. Jonas. Basel: Birkhauser, 2012. 11-41.Kagan, S. Art and Sustainability. Bielefeld: Transcript, 2011.Lenskjold, Tau Ulv, Sissel Olander, and Joachim Halse. “Minor Design Activism: Prompting Change from Within.” Design Issues 31.4 (2015): 67–78. doi:10.1162/DESI_a_00352.Max-Neef, M.A. "Foundations of Transdisciplinarity." Ecological Economics 53.53 (2005): 5-16.Miserandino, C. "The Spoon Theory." <http://www.butyoudontlooksick.com>.Nicolescu, B. "Methodology of Transdisciplinarity – Levels of Reality, Logic of the Included Middle and Complexity." Transdisciplinary Journal of Engineering and Science 1.1 (2010): 19-38.Palmer, C., J. Gothe, C. Mitchell, K. Sweetapple, S. McLaughlin, G. Hose, M. Lowe, H. Goodall, T. Green, D. Sharma, S. Fane, K. Brew, and P. Jones. “Finding Integration Pathways: Developing a Transdisciplinary (TD) Approach for the Upper Nepean Catchment.” Proceedings of the 5th Australian Stream Management Conference: Australian Rivers: Making a Difference. Thurgoona, NSW: Charles Sturt University, 2008.Rodriguez and Brison. "Purslane Soup." Conversation Piece. Eds. Frontyard Projects. Marrickville: Frontyard Projects, 2018. 34-41.Schultz, Tristan, et al. "What Is at Stake with Decolonizing Design? A Roundtable." Design and Culture 10.1 (2018): 81-101.Smith, Linda Tuhiwai. Decolonising Methodologies: Research and Indigenous Peoples. New York: ZED Books, 1998. Van Abel, Bas, et al. Open Design Now: Why Design Cannot Remain Exclusive. Bis Publishers, 2014.Wing Sue, Derald. Microaggressions in Everyday Life: Race, Gender, and Sexual Orientation. London: John Wiley & Sons, 2010. XV-XX.

It all started with a tweet. On the afternoon of 2 June 2013, Professor Geoffrey Miller, an evolutionary psychologist at the University of New Mexico (UNM) and visiting instructor at New York University (NYU), tweeted out a message that would go on to generate a significant social media controversy. Addressing aspiring doctoral program applicants, Miller wrote:Dear obese PhD applicants: if you didn’t have the willpower to stop eating carbs, you won't have the willpower to do a dissertation #truthThe response to Miller’s tweet was swift and fiery. Social media users began engaging with him on Twitter, and in the early hours of the controversy Miller defended the tweet. When one critic described his message as “judgmental,” Miller replied that doing a dissertation is “about willpower/conscientiousness, not just smarts” (Trotter). The tweet above, now screen captured, was shared widely and debated by journalists, Fat Acceptance activists, and academic social media users. Within hours Miller had deleted the tweet and replaced it with two new ones:My sincere apologies to all for that idiotic, impulsive, and badly judged tweet. It does not reflect my true views, values, or standards andObviously my previous tweet does not represent the selection policies of any university, or my own selection criteriaHe then made his Twitter account private. The captured image, however, continued to spread. Across social media, users began to circulate a campaign that called for Miller to be formally disciplined (Trotter). There was also widespread talk about potential lawsuits from prospective students who were not selected for admission at UNM (Kirby). Indeed, the Fat Chick Sings blogger Jeanette DePatie offered her own advice to Miller: #findagoodlawyer.Soon after the controversy emerged a response appeared on UNM’s website in the form of a video statement by Professor Jane Ellen Smith, the Chair of the UNM Psychology Department. Smith reiterated that Miller’s statements did not reflect the “policies and admissions standards of UNM”. She also stated that Miller had defended his actions by claiming the tweet was part of a “research project” where he would deliberately send out provocative messages in order to measure the public response to them. This claim was met with incredulity by a number of bloggers and columnists, and was later determined to be incorrect in an Institutional Review Board inquiry at UNM, which concluded Miller’s tweets were “self-promotional” in nature. Following a formal investigation, the UNM committee found no evidence that Miller had discriminated against overweight students. It did however pass a motion of censure that included a number of restrictions, including prohibiting Miller from sitting on any graduate admission committee at UNM.The #truth about Fat PhDs?Readers may be wondering why Miller’s tweet continues to matter as I write this article in 2015. It is my belief that the tweet is important insofar as it affords an insight into the cultural scene that surrounds the fat body in higher education. The vigorous debate generated by Miller’s tweet offers researchers a diverse array of media texts that are available to help build a more comprehensive picture of fat embodiment within higher education.Looking at the tweet in the cold light of day it is difficult to imagine any logical links one might infer between a person’s carbohydrate consumption and their ability to excel in doctoral education. And there’s the rub. Of course Miller’s tweet does not represent a careful evaluation of the properties of doctoral willpower. In order to make sense of the tweet we need to understand the ways cultural assumptions about fatness operate. For decades now, researchers have documented the existence of anti-fat attitudes (Crandall & Martinez). Increasingly, scholars and Fat Acceptance activists have described a “thinness norm” that is reproduced across contemporary Western cultures, which discerns normatively slender bodies as “both healthy and beautiful” (Eller 220) and those whose bodies depart from this norm, as “socially acceptable targets for shaming and hate speech” (Eller 220). In order to be intelligible Miller’s tweet relies on a number of deeply entrenched cultural meanings attributed to fatness and fat people.The first is that body-size is primarily a matter of self-control. Although Critical Fat Studies researchers have argued for some time that body weight is determined by complex interactions between the biological and environmental, the belief that a large body size is caused by limited self-control remains prevalent. This in turn supports a host of cultural connotations, which tend to constitute fat people as “lazy, gluttonous, greedy, immoral, uncontrolled, stupid, ugly and lacking in willpower” (Farrell 4).In light of the above, Miller’s message ought to be read as a moral one. I have paraphrased its logic as such: if you [the fat doctoral student] lack the willpower to discipline your body into normatively desired slimness, you will also likely lack the strength of character required to discipline your body-mind into producing a doctoral dissertation. The sad irony here is that, if anything, the attitudes that might hamper fat students from pursuing a doctoral education would be those espoused in Miller’s own tweet. As Critical Fat Studies researchers have illuminated, the anti-fat attitudes the tweet reproduces generate challenging higher education climates for fat people to navigate (Pausé, Express Yourself 6).Indeed, while Miller’s tweet is one case that arose to media prominence, there is evidence that it sits inside a wider pattern of weight discrimination within higher education. For example, Caning and Mayer (“Obesity: Its Possible”, “Obesity: An Influence”) found that despite similar high school performances, ‘obese’ students were less likely to be accepted to elite universities, than their non-obese peers. In a more recent US-based study, Burmeister and colleagues found evidence of weight bias in graduate school admissions. In particular, they found that higher body mass index (BMI) applicants received fewer post-interview offers into psychology graduate programs than other students (920), and this relationship appeared to be stronger for female applicants (920). This picture is supported by a study by Swami and Monk, who examined weight bias against women in a hypothetical scenario about university acceptance. In this study, 198 volunteers in the UK were asked to identify the women they were most and least likely to select for a place at university. Swami and Monk found that participants were biased against fat women, a finding which the authors interpreted as evidence of broader public beliefs about body size and access to higher education.In my examination of the media scene surrounding the Miller case I observed that most commentators associated the tweet with a particular affective formation – shame. Miller’s actions were widely described as “fat-shaming” (Bennet-Smith; Ingeno; Martin; Trotter; Walsh) with Miller himself often referred to simply as the “fat-shaming professor” (King; ThinkTank). In this article I wish to consider the affective-political dimensions of Miller’s tweet, by focusing on one digital community’s response to it: Fuck Yeah! Fat PhDs. In following this path I am building on the work of other researchers who have considered fat activisms and Web 2.0 (Pausé, Express Yourself); fat visual activism (Gurrieri); and the emotional politics of fat acceptance blogging (Kargbo; Bronstein).Imaging Alternatives: Fuck Yeah! Fat PhDsBy 3 June 2013 – just one day after Miller’s tweet was published – New Zealand-based academic Cat Pausé had created the Tumblr Fuck Yeah! Fat PhDs. This was billed as a photo-blog about “being fatlicious in academia”. Writing on her Friend of Marilyn blog, Pausé explained the rationale behind the Tumblr:I decided that what I wanted to do was to highlight all the amazing fat individuals who are in graduate school, or have completed graduate school – to provide a visual repository … and to celebrate the amazing work being done by these rad fatties!Pausé sent out calls for participants on Twitter, Tumblr and Facebook, and emailed a Fat Studies listserv. She asked submitters to send “a photo, along with their name, degree, and awarding institution” (Pausé Express Yourself, 6). Images were submitted thick and fast. Twenty-three were published in the first day of the project, and twenty in the second. At the time of writing, just over 150 images had been submitted, the most recent being November 2013.The Fuck Yeah! Fat PhDs project ought to be understood as part the turn away from the textual toward the digital in fat activist movements (Kargbo). This has seen a growth in online communities that are interested in developing “counter-images in response to the fat body’s position as the abject, excluded Other of the socially acceptable body” (Kargbo 162). Examples include a multitude of Fatshion photo-blogs, Tumblrs like Exciting Fat People or the Stocky Bodies image library, which responds to the limited diversity of visual representations of fat people in the mainstream media (Gurrieri).For this article, I have read the images on the Fuck Yeah! Fat PhDs Tumblr in order to gain an impression about the affective-political work accomplished by this collective of self-identified fat academic bodies. As I indicated earlier, much of the commentary following Miller’s tweet characterised it as an attempt to ‘shame’ fat doctoral students. As Elspeth Probyn has identified, shame frequently manifests itself on the body “most experiences of shame make you want to disappear, to hide away and to cover yourself” (Probyn 329). I suggest that the core work of the Fuck Yeah! Fat PhDs Tumblr is to address the spectre of shame Miller’s tweet projects with visibility, rather than it’s opposite. This visibility also enables the project to proliferate a host of different ways of (feeling about) being fat and doctoral.The first image posted on the Tumblr is Pausé’s own. She is pictured smiling at the 2007 graduation ceremony where she received her own PhD, surrounded by fellow graduates in academic regalia. Her image is followed by many others, mostly white women, who attest to the academic attainments of fat individuals. My first impression as I scrolled through the Tumblr was to note that many of the images (51) referenced scenes of graduation, where subjects wore robes, caps or posed with higher degree certificates. Many more were the kinds of photographs that one might expect to be taken at an academic event. Together, these images attest to the viability of the living, breathing doctoral body - a particularly relevant response given Miller’s tweet. This work to legitimate the fat doctoral body was also accomplished through the submission of two historical photographs of Albert Einstein, a figure who is neither living nor breathing, but highly unlikely to be described as lacking academic ability or willpower.As I read through the Tumblr subsequent times, I noticed that many of the submitters offered images that challenge stereotypical representations of the fat body. As a number of writers have noted, fat people tend to be visually represented as “solitary, lonely figures whose expressions are downcast and dejected” (Gurrieri 202). That is if they aren’t already decapitated in the visual convention of the “headless fatty” used across news media (Kargbo 160). Like the Stocky Bodies project, the Fuck Yeah! Fat PhDs Tumblr facilitated a more diverse and less pathologising representation of fat (doctoral) embodiment.Across the images there is little evidence of the downcast eyes of shame and dejection that Miller’s tweet seems to invite of aspiring fat doctoral candidates. Scrolling through the Tumblr one encounters images of fat people singing, swimming, creating art, playing sport, smoking, smiling, dressing up, and making music. A number of images (12) emphasise the social nature of fat doctoral life, by picturing multiple subjects at once, some holding hands, others posing with colleagues, loved ones, and a puppy. Another category of submissions took a playful stance vis-à-vis some representational conventions of imaging fatness. Where portrayals of the fat body from side or rear angles, or images of fat people eating and drinking typically code an affective scene of disgust (Gurrieri), a number of images on the Tumblr appear to reinscribe these scenes with new meaning. Viewers are offered pictures of smiling and contented fat graduates unashamed to eat and drink, or be represented from ‘unflattering’ angles.Furthermore, a number of images offered alternatives to the conventional representation of the fat subject as ugly and sexually unattractive by posing in glamorous shots bubbling with allure and desire. In one memorable picture, blogger and educator Virgie Tovar is snapped wearing a “sex instructor” badge and laughs while holding two sex toys.Reading across the images it becomes clear that the Tumblr offers a powerful response to the visual convention of representing the solitary, lonely fat person. Rather than presenting isolated fat doctoral students the act of holding the images together generates a sense of fat higher education community, as Kargbo notes:A single image posted online amidst vast Internet ephemera is just a fleeting document of a moment in a stranger’s life. But in the plural, as one scrolls through hundreds of images eager to hit the ‘next’ button for what will be a repetition of the same, the image takes on a new function: it becomes an insistent testament to the liveness of fat embodiment in the present. (164)Obesity Timebomb blogger Charlotte Cooper (2013) commented on the significance of the project: “It is pretty amazing to see the names and faces as I scroll through Fuck yeah! Fat PhDs. Many of us are friends and collaborators and the site represents a new community of power.”Concluding Thoughts: Fat Embodiment and Higher Education CulturesThis article has examined a cultural event that that saw the figure of the fat doctoral student rise to international media prominence in 2013. I have argued that while Miller’s tweet can be read as illustrative of the affective scene of shame that surrounds the fat body in higher education, the images offered by the Fuck Yeah! photo submitters work to re-negotiate implication in social discourses of abjection. Indeed, the images assert that alternative ways of feeling about being fat and doctoral remain viable. Fat students can be contented, ambivalent, sultry, pissed off, passionate and proud – and Fuck Yeah! Fat PhDs provides submitters with a platform to perform a wide array of these affects. This is not to say that shame is shut out of the project, or the lives of submitters’ altogether. Instead, I am suggesting that the Tumblr generates a more open field of possibilities, providing “a space for re-imagining new forms of attachments and identifications.” (Kargbo 171). Critics might argue that this Tumblr is not particularly novel when set in the context of a range of fat photo-blogs that have sprung up across the Internet in recent years. I would argue, however, that when we consider the kinds of questions Fuck Yeah! Fat PhDs might ask of university cultures, and the prompts it offers to higher education researchers, the Tumblr can be seen to make an important contribution. I am in agreement with Kargbo (2013) when she argues that fat photo-blogs “have the potential to alter the conditions of visual reception and perception”. That is, through their “codes and conventions, styles of lighting and modes of address, photographs literally show us how to relate to another person” (Singer 602). When read together, the Fuck Yeah! images insist that a different kind of relationship to fat PhDs is possible, one that exceeds the shaming visible in Miller’s tweet. Ultimately then, the Tumblr is a call to take fat doctoral students seriously, not as problems in need of fixing, but as a diverse group of scholars who make important contributions to the academy and beyond.I would like to use the occasion of concluding this article to call for further conversations about fat embodiment and higher education cultures. The area is significantly under-researched, with higher education scholars largely failing to engage with the material and affective experiences of fat embodiment. Indeed, I would argue that if nothing else, this paper has demonstrated that public scenes of knowledge creation have done a much more comprehensive job of analysing the intersection of ‘fat + university’ than academic books and articles to date. While not offering an exhaustive sketch, I would like to gesture toward some areas that might contribute to a future research agenda. For example, researchers might begin to approach the experience of living, working and studying as a fat person in the contemporary university. Such research might examine whose body the university is imagined and designed for, as well as the campus climate experienced by fat individuals. Researchers might consider how body size could become a part of broader conversations about embodiment and privilege in higher education, alongside race, ability, gender identity, and other categories of social difference.Thinking about the intersection of ‘fat + university’ would also involve tracing possibilities. For example, what role do university campuses play as spaces of fat activism and solidarity? And, what is the contribution made by Critical Fat Studies as a newly established interdisciplinary field of inquiry?Taken together, I hope the questions I have raised in this article demonstrate that the intersection of ‘fat’ and higher education cultures represents a rich and valuable area that warrants further inquiry.ReferencesBennet-Smith, Meredith. “Geoffrey Miller, Visiting NYU Professor, Slammed for Fat-Shaming Obese PhD Candidates.” 6 Apr. 2013. The Huffington Post. ‹http://www.huffingtonpost.com/2013/06/04/geoffrey-miller-fat-shaming-nyu-phd_n_3385641.html›.Bronstein, Carolyn. “Fat Acceptance Blogging, Female Bodies and the Politics of Emotion.” Feral Feminisms 3 (2015): 106-118. Burmeister, Jacob, Allison Kiefner, Robert Carels, and Dara Mushner-Eizenman. “Weight Bias in Graduate School Admissions.” Obesity 21 (2013): 918-920.Canning, Helen, and Jean Mayer. “Obesity: Its Possible Effect on College Acceptance.” The New England Journal of Medicine 275 (1966): 1172-1174. Canning, Helen, and Jean Mayer. “Obesity: An Influence on High School Performance.” The American Journal of Clinical Nutrition 20 (1967): 352-354. Cooper, Charlotte. “The Curious Case of Dr. Miller and His Tweet.” Obesity Timebomb 4 June 2013. ‹http://obesitytimebomb.blogspot.com/2013/06/the-curious-case-of-dr-miller-and-his.html›.Crandall, Christian, and Rebecca Martinez. “Culture, Ideology, and Antifat Attitudes.” Personality and Social Psychology Bulletin 22 (1996): 1165-1176.DePatie, Jeanette. “Dear Dr. Terrible Your Bigotry Is Showing...” The Fat Chick Sings 2 June 2013. ‹http://fatchicksings.com/2013/06/02/dear-dr-terrible-your-bigotry-is-showing/›.Eller, G.M. “On Fat Oppression.” Kennedy Institute of Ethics Journal 24 (2014): 219-245. Farrell, Amy. Fat Shame: Stigma and the Fat Body in American Culture. New York: NYU Press, 2011. Gurrieri, Lauren. “Stocky Bodies: Fat Visual Activism.” Fat Studies 2 (2013): 197-209. Ingeno, Lauren. “Fat-Shaming in Academe.” Inside Higher Ed 4 June 2013. Kargbo, Majida. “Toward a New Relationality: Digital Photography, Shame, and the Fat Subject.” Fat Studies 2 (2013): 160-172.King, Barbara. “The Fat-Shaming Professor: A Twitter-Fueled Firestorm.” Cosmos & Culture 13.7 (2013) Kirby, Marianne. “How Not to Twitter: Dr. Geoffrey Miller's 140 Fat-Hating Characters of Infamy.” XoJane 5 June 2013. ‹http://www.xojane.com/issues/professor-geoffrey-miller›.Martin, Adam. “NYU Professor Immediately Regrets Fat-Shaming Potential Students.” New York Magazine June 2013. ‹http://nymag.com/daily/intelligencer/2013/06/nyu-professor-immediately-regrets-fat-shaming.html›.Pausé, Cat. “On That Tweet – Fat Discrimination in the Education Sector.” Friend of Marilyn 5 June 2013. ‹http://friendofmarilyn.com/2013/06/05/on-that-tweet-fat-discrimination-in-the-education-sector/›.Pausé, Cat. “Express Yourself: Fat Activism in the Web 2.0 Age.” The Politics of Size: Perspectives from the Fat-Acceptance Movement. Ed. Ragen Chastain. New York: ABC-CLIO, 2015. 1-8. Probyn, Elspeth. “Everyday Shame.” Cultural Studies 18.2-3 (2004): 328-349. Singer, T. Benjamin. “From the Medical Gaze to Sublime Mutations: The Ethics of (Re)viewing Non-Normative Body Images.” The Transgender Studies Reader. Eds. Susan Stryker and Stephen Whittle. New York: Routledge, 2013. 601-620. Swami, Viren, and Rachael Monk. “Weight Bias against Women in a University Acceptance Scenario.” Journal of General Psychology 140.1 (2013): 45-56.Sword, Helen. “The Writer’s Diet.” ‹http://writersdiet.com/WT.php?home›.ThinkTank. “'Fat Shaming Professor' Gives RIDICULOUS Excuse – Check This Out (Update).” ThinkTank 8 July 2013. ‹https://www.youtube.com/watch?v=_Ey9TkG18-o›.Trotter, J.K. “How Twitter Schooled an NYU Professor about Fat-Shaming.” The Atlantic Wire 2013. ‹http://www.thewire.com/national/2013/06/how-twitter-schooled-nyu-professor-about-fat-shaming/65833/›.Walsh, Michael. “NYU Visiting Professor Insults the Obese Ph.D.s with ‘Impulsive’ Tweet.” New York Daily News 2013.

Creators and Creation Creation is a troubling word today, because it suggests an impossible act, indeed a miracle: the formation of something out of nothing. Today we no longer believe in miracles, yet we see all around us myriad acts which we routinely define as creative. Here, I am not referring to the artistic performances and works of gifted individuals, which have their own genealogy of creativity in the lineages of Western art. Rather, I am referring to the small, personal events that we see within the mediated spaces of the everyday (on the television screen, in magazines and newspapers) where lives are suddenly changed for the better through the consumption of products designed to fulfil our personal desires. In this paper, I want to explore the implications of thinking about everyday creativity as a modern cultural form. I want to suggest that not only is such an impossible possibility possible, but that its meaning has been at the centre of the desire to name, to gain status from, and to market the products of modern industrialisation. Furthermore I want to suggest that beyond any question of marketing rhetoric, we need to attend to this desire as the ghost of a certain kind of immanence which has haunted modernity and its projects from the very beginning, linking the great thoughts of modern philosophy with the lowliest products of modern life. Immanence, Purity and the Cogito In Descartes' famous Discourse on Method, the author-narrator (let's call him Descartes) recounts how he came about the idea of the thinking self or cogito, as the foundation of worldly knowledge: And so because sometimes our senses deceive us, I made up my mind to suppose that they always did. . . . I resolved to pretend that everything that had ever entered my mind was as false as the figments of my dreams. But then as I strove to think of everything false, I realized that, in the very act of thinking everything false, I was aware of myself as something real. (60-61) These well known lines are, of course, the beginnings of a remarkable philosophical enterprise, reaching forward to Husserl and beyond, in which the external world is bracketed, all the better to know it in the name of reason. Through an act of pretence ("I resolved to pretend"), Descartes disavows the external world as the source of certain knowledge, and, turning to the only thing left: the thought of himself—"I was aware of myself as something real"—makes his famous declaration, "I think therefore I am". But what precisely characterises this thinking being, destined to become the cogito of all modernity? Is it purely this act of self-reflection?: Then, from reflecting on the fact that I had doubts, and that consequently my existence was not wholly perfect, it occurred to me to enquire how I learned to think of something more perfect than myself, and it became evident to me that it must be through some nature which was in fact more perfect. (62) Descartes has another thought that "occurred to me" almost at the same moment that he becomes aware of his own thinking self. This second thought makes him aware that the cogito is not complete, requiring yet a further thought, that of a perfection drawn from something "more perfect than myself". The creation of the cogito does not occur, as we might have first surmised, within its own space of self-reflection, but becomes lodged within what might be called, following Deleuze and Guattari, a "plane of immanence" coming from the outside: "The plane of immanence is . . . an outside more distant than any external world because it is an inside deeper than any internal world: it is immanence" (59). Here we are left with a puzzling question: what of this immanence that made him aware of his own imperfection at the very moment of the cogito's inception? Can this immanence be explained away by Descartes' appeal to God as a state of perfection? Or is it the very material upon which the cogito is brought into existence, shaping it towards perfection? We are forced to admit that, irrespective of the source of this perfection, the cogito requires something from the outside which, paradoxically, is already on the inside, in order to create itself as a pure form. Following the contours of Descartes' own writing, we cannot account for modernity purely in terms of self-reflection, if, in the very act of its self-creation, the modern subject is shot through with immanence that comes from the outside. Rather what we must do is describe the various forms this immanence takes. Although there is no necessary link between immanence and perfection (that is, one does not logically depend on the other as its necessary cause) their articulation nevertheless produces something (the cogito for instance). Furthermore, this something is always characterised as a creation. In its modern form, creation is a form of immanence within materiality—a virtualisation of material actuality, that produces idealised states, such as God, freedom, reason, uniqueness, originality, love and perfection. As Bruno Latour has argued, the "modern critical stance" creates unique, pure objects, by purging the material "networks" from which they are formed, of their impurities (11-12). Immanence is characterised by a process of sifting and purification which brings modern objects into existence: "the plane of immanence . . . acts like a sieve" (Deleuze and Guattari 42). The nation, the state, the family, the autonomous subject, and the work of art—all of these are modern when their 'material' is purged of impurities by an immanence that 'comes from the outside' yet is somehow intrinsic to the material itself. As Zygmunt Bauman points out, the modern nation exists by virtue of a capacity to convert strangers into citizens; by purging itself of impurities inhabiting it from within but coming from the outside (63). The modern work of art is created by purging itself of the vulgarities and impurities of everyday life (Berman 30); by reducing its contingent and coincidental elements to a geometrical, punctual or serialised form. The modern nuclear family is created by converting the community-based connections between relatives and friends into a single, internally consistent self-reproducing organism. All of these examples require us to think of creativity as an act which brings something new into existence from within a material base that must be purged and disavowed, but which, simultaneously, must also be retained as its point of departure that it never really leaves. Immanence should not be equated with essence, if by essence we mean a substratum of materiality inherent in things; a quality or quiddity to which all things can be reduced. Rather, immanence is the process whereby things appear as they are to others, thereby forming themselves into 'objects' with certain identifiable characteristics. Immanence draws the 'I' and the 'we' into relations of subjectivity to the objects thus produced. Immanence is not in things; it is the thing's condition of objectivity in a material, spatial and temporal sense; its 'becoming object' before it can be 'perceived' by a subject. As Merleau-Ponty has beautifully argued, seeing as a bodily effect necessarily comes before perception as an inner ownership (Merleau-Ponty 3-14). Since immanence always comes from elsewhere, no intensive scrutiny of the object in itself will bring it to light. But since immanence is already inside the object from the moment of its inception, no amount of examination of its contextual conditions—the social, cultural, economic, institutional and authorial conditions under which the object was created—will bring us any closer to it. Rather, immanence can only be 'seen' (if this is the right word) in terms of the objects it creates. We should stop seeking immanence as a characteristic of objects considered in themselves, and rather see it in terms of a virtual field or plane, in which objects appear, positioned in a transversally related way. This field does not exist transcendentally to the objects, like some overarching principle of order, but as a radically exteriorised stratum of 'immaterial materiality' with a specific image-content, capable of linking objects together as a series of creations, all with the stamp of their own originality, individuality and uniqueness, yet all bound together by a common set of image relations (Deleuze 34-35). If, as Foucault argues, modern objects emerge in a "field of exteriority"—a complex web of discursive interrelations, with contingent rather than necessary connections to one another (Foucault 45)—then it should be possible to map the connections between these objects in terms of the "schema of correspondence" (74) detected in the multiplicities thrown up by the regularities of modern production and consumption. Commodities and Created Objects We can extend the idea of creation to include not only aesthetic acts and their objects, but also the commodity-products of modern industrialisation. Let's begin by plunging straight into the archive, where we might find traces of these small modern miracles. An illustrated advertisement for 'Hudson's Extract of Soap' appeared in the Illustrated Sydney News, on Saturday February 22nd, 1888. The illustration shows a young woman with a washing basket under her arm, standing beside a sign posted to a wall, which reads 'Remarkable Disappearance of all Dirt from Everything by using Hudson's Extract of Soap' (see Figure 1). The woman has her head turned towards the poster, as if reading it. Beneath these words, is another set of words offering a reward: 'Reward !!! Purity, Health, Perfection, Satisfaction. By its regular daily use'. Here we are confronted with a remarkable proposition: soap does not make things clean, rather it makes dirt disappear. Soap purifies things by making their impurities disappear. The claim made applies to 'everything', drawing attention to a desire for a certain state of perfection, exemplified by the pure body, cleansed of dirt and filth. The pure exists in potentia as a perfect state of being, realised by the purgation of impurities. Fig 1: Hudson's Soap. Illustrated Sydney News, on Saturday February 22nd, 1888 Here we might be tempted to trace the motivation of this advertisement to a concern in the nineteenth century for a morally purged, purified body, regulated according to bourgeois values of health, respectability and decorum. As Catherine Gallagher has pointed out, the body in the nineteenth century was at the centre of a sick society requiring "constant flushing, draining, and excising of various deleterious elements" (Gallagher 90). But this is only half the story. The advertisement offers a certain image of purity; an image which exceeds the immediate rhetorical force associated with selling a product, one which cannot be simply reduced to its contexts of use. The image of perfection in the Hudson's soap advertisement belongs to a network of images spread across a far-flung field; a network in which we can 'see' perfection as a material immanence embodied in things. In modernity, commodities are created objects par excellence, which, in their very ordinariness, bear with them an immanence, binding consumers together into consumer formations. Each act of consumption is not simply driven by necessity and need, but by a desire for self-transformation, embodied in the commodity itself. Indeed, self-transformation becomes one of the main creative processes in what Marshal Berman has identified as the "third" phase of modernity, where, paraphrasing Nietzsche, "modern mankind found itself in the midst of a great absence and emptiness of values and yet, at the same time, a remarkable abundance of possibilities" (Berman 21). Commodification shifts human desire away from the thought of the other as a transcendental reality remote from the senses, and onto a future oriented material plane, in which the self is capable of becoming an other in a tangible, specific way (Massumi 35 ff.). By the end of the nineteenth century, commodities had become associated with scenarios of self-transformation embedded in human desire, which then began to shape the needs of society itself. Consumer formations are not autonomous realms; they are transversally located within and across social strata. This is because commodities bear with them an immanence which always exceeds their context of production and consumption, spreading across vast cultural terrains. An individual consumer is thus subject to two forces: the force of production that positions her within the social strata as a member of a class or social grouping, and the force of consumption that draws her away from, or indeed, further into a social positioning. While the consumption of commodities remained bound to ideologies relating to the formation of class in terms of a bourgeois moral order, as it was in Britain, America and Europe throughout the nineteenth century, then the discontinuity between social strata and cultural formation was felt in terms of the possibility of self-transformation by moving up a class. In the nineteenth century, working class families flocked to the new photographic studios to have their portraits taken, emulating the frozen moral rectitude of the ideal bourgeois type, or scrimped and saved to purchase parlour pianos and other such cultural paraphernalia, thereby signalling a certain kind of leisured freedom from the grind of work (Sekula 8). But when the desire for self-transformation starts to outstrip the ideological closure of class; that is, when the 'reality' of commodities starts to overwhelm the social reality of those who make them, then desire itself takes on an autonomy, which can then be attached to multiple images of the other, expressed in imaginary scenarios of escape, freedom, success and hyper-experience. This kind of free-floating desire has now become a major trigger for transformations in consumer formations, linked to visual technologies where images behave like quasi-autonomous beings. The emergence of these images can be traced back at least to the mid-nineteenth century where products of industrialisation were transformed into commodities freely available as spectacles within the public spaces of exhibitions and in mass advertising in the press, for instance in the Great Exhibition of 1851 held at London's Crystal Palace (Richards 28 ff.) Here we see the beginnings of a new kind of object-image dislocated from the utility of the product, with its own exchange value and logic of dispersal. Bataille's notion of symbolic exchange can help explain the logic of dispersal inherent in commodities. For Bataille, capitalism involves both production utility and sumptuary expenditure, where the latter is not simply a calculated version of the former (Bataille 120 ff.) Sumptuary expenditure is a discharge of an excess, and not a drawing in of demand to match the needs of supply. Consumption thus has a certain 'uncontrolled' element embedded in it, which always moves beyond the machinations of market logic. Under these conditions, the commodity image always exceeds production and use, taking on a life of its own, charged with desire. In the late nineteenth century, the convergence of photography and cartes-de-visites released a certain scopophilic desire in the form of postcard pornography, which eventually migrated to the modern forms of advertising and public visual imagery that we see today. According to Suren Lalvani, the "onset of scopophilia" in modern society is directly attributable to the convergence of photographic technology and erotic display in the nineteenth century (Lalvani). In modern consumer cultures, desire does not lag behind need, but enters into the cycle of production and consumption from the outside, where it becomes its driving force. In this way, modern consumer cultures transform themselves by ecstasis (literally, by standing outside oneself) when the body becomes virtualised into its other. Here, the desire for self-transformation embodied in the act of consumption intertwines with, and eventually redefines, the social positioning of the subject. Indeed the 'laws' of capital and labour where each person or family group is assigned a place and regime of duties, are constantly undone and redefined by the superfluity of consumption, gradually gathering pace throughout the nineteenth and twentieth centuries. These tremendous changes operating throughout all capitalist consumer cultures for some time, do not occur in a calculated way, as if controlled by the forces of production alone. Rather, they occur through myriad acts of self-transformation, operating transversally, linking consumer to consumer within what I have defined earlier as a field of immanence. Here, the laws of supply and demand are inadequate to predict the logic of this operation; they only describe the effects of consumption after desire has been spent. Or, to put this another way, they misread desire as need, thereby transcribing the primary force of consumption into a secondary component of the production/labour cycle. This error is made by Humphrey McQueen in his recent book The Essence of Capitalism: the origins of our future (2001). In chapter 8, McQueen examines the logic of the consumer market through a critique of the marketeer's own notion of desire, embodied in the "sovereign consumer", making rational choices. Here desire is reduced back to a question of calculated demand, situated within the production/consumption cycle. McQueen leaves himself no room to manoeuvre outside this cycle; there is no way to see beyond the capitalist cycle of supply/demand which accelerates across ever-increasing horizons. To avoid this error, desire needs to be seen as immanent to the production/consumption cycle; as produced by it, yet superfluous to its operations. We need therefore to situate ourselves not on the side of production, but in the superfluity of consumption in order to recognise the transformational triggers that characterise modern consumer cultures, and their effects on the social order. In order to understand the creative impulse in modernity today, we need to come to grips with the mystery of consumption, where the thing consumed operates on the consumer in both a material and an immaterial way. This mystification of the commodity was, of course, well noted by Marx: A commodity is . . . a mysterious thing, simply because in it the social character of men's labour appears to them as an objective character stamped upon the product of that labour; because the relation of the producers to the sum total of their own labour is presented to them as a social relation, existing not between themselves, but between the products of their labour. (Marx 43, my emphasis) When commodities take on such a powerful force that their very presence starts to drive and shape the social relations that have given rise to them; that is, when desire replaces need as the shaping force of societies, then we are obliged to redefine the commodity and its relation to the subject. Under these conditions, the mystery of the commodity is no longer something to be dispelled in order to retrieve the real relation between labour and capital, but becomes the means whereby "men's labour" is actually shaped and formed as a specific mode of production. Eric Alliez and Michel Feher (1987) point out that in capitalism "the subjection framework which defines the wage relation has penetrated society to such an extent that we can now speak not only of the formal subsumption of labor by capital but of the actual or 'real' subsumption by capital of society as a whole" (345). In post-Fordist economic contexts, individuals' relation to capital is no longer based on subjection but incorporation: "space is subsumed under a time entirely permeated by capital. In so doing, they [neo-Fordist strategies] also instigate a regime in which individuals are less subject to than incorporated by capital" (346). In societies dominated by the subjection of workers to capital, the commodity's exchange value is linked strongly to the classed position of the worker, consolidating his interests within the shadow of a bourgeois moral order. But where the worker is incorporated into capital, his 'real' social relations go with him, making it difficult to see how they can be separated from the commodities he produces and which he also consumes at leisure: "If the capitalist relation has colonized all of the geographical and social space, it has no inside into which to integrate things. It has become an unbounded space—in other words, a space coextensive with its own inside and outside. It has become a field of immanence" (Massumi 18). It therefore makes little sense to initiate critiques of the capital relation by overthrowing the means of subjection. Instead, what is required is a way through the 'incorporation' of the individual into the capitalist system, an appropriation of the means of consumption in order to invent new kinds of selfhood. Or at the very least, to expose the process of self-formation to its own means of consumption. What we need to do, then, is to undertake a description of the various ways in which desire is produced within consumer cultures as a form of self-creation. As we have seen, in modernity, self-creation occurs when human materiality is rendered immaterial through a process purification. Borrowing from Deleuze and Guattari, I have characterised this process in terms of immanence: a force coming from the outside, but which is already inside the material itself. In the necessary absence of any prime mover or deity, pure immanence becomes the primary field in which material is rendered into its various and specific modern forms. Immanence is not a transcendental power operating over things, but that which is the very motor of modernity; its specific way of appearing to itself, and of relating to itself in its various guises and manifestations. Through a careful mapping of the network of commodity images spread through far-flung fields, cutting through specific contexts of production and consumption, we can see creation at work in one of its specific modern forms. Immanence, and the power of creation it makes possible, can be found in all modern things, even soap powder! References Alliez, Eric and Michel Feher. "The Luster of Capital." Zone 1(2) 1987: 314-359. Bauman, Zygmunt. Modernity and Ambivalence. Cambridge: Polity, 1991. Berman, Marshall. All That is Solid Melts into Air. New York: Penguin, 1982. Bataille, George. "The Notion of Expenditure." George Bataille, Visions of Excess: Selected Writings, 1927-1939. Trans. Alan Stoekl, Minneapolis: University of Minnesota Press, 1995, pp.116-129. 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