Journal articles on the topic 'Jonathan Coe'

This article discusses Billy Wilder's 1970 film The Private Life of Sherlock Holmes, which, though not enthusiastically received by audiences at the time, has subsequently become a work highly valued by critics and cineastes. Radically cut from its original four-part structure by the studio, it has come to be perceived as a film about loss. This relates both to its themes – suppressed love, the vanished world of Holmes and Watson – and to the history of the film itself, whose missing episodes exist only in fragmentary form. The first part of the essay looks at the ways in which the film constructs an image of Sherlock Holmes (played by Robert Stephen), with a focus on the question of his sexuality, while the second part turns to the ways in which the film became an ‘obsession’ for one writer in particular, the novelist Jonathan Coe.

The problem-thematic unit “Finance” is outlined in the theoretical work “The Routledge Companion to Twenty-First Century Literary Fiction” (2018). The importance of this unit is due to the presence of texts in which to understand the worldview of the characters it is important to take into account the socio-economic environment in which the characters live and which affects their behavior. In the novels “NW” (2012) by Zadie Smith, “Other People’s Money” (2011) by Justin Cartwright and “The Terrible Privacy of Maxwell Sim” (2010) by Jonathan Coe, the writers offer a new representation of the image of money, which distances money from the material world and becomes a transcendental value. Monetary processes are perceived as imaginary phenomena that the characters perceive speculatively. This leads to cataclysms and painful experiences arising from the loss of the characters of their work and the total banking crisis. The representation of money in the novels exploits the tendency that contemporary British authors discover trends related to German philosophy and the ideas of Kantianism. Money is not a form of achieving material goods, but a tool that shows that the characters are able to create another virtual world, which can exist as a speculative phenomenon. The presented range of novels confirms the ideas of B. Shalahinov that the sources of philosophical thought of German Romanticism were nourishing both for the Modern period and the Post-postmodern one, in particular exploited in the British post-postmodern novels.

Abstract Like many other world literatures, the English literature of the last few decades has been marked by an intensive search for new narrative techniques, for innovative ways and means of arranging a plot and portraying characters. The search has resulted, among other things, into merging literature with visual arts like painting, film and photography. This phenomenon got the name of ekphrasis and has become a popular field of literary research lately. Suffice it to cast a glance at several of the novels published around the year 2000 to see that incorporation of photographic images into fiction allows writers to use new means of organizing literary texts, to employ non-conventional devices of structuring a plot and delineating personages as well as to pose various problems of aesthetic, ethical, ideological nature. We suggest to look briefly at seven novels published in the last three decades to see the various roles assigned to photography by their authors: Out of this World (1988) by Graham Swift, Ulverton (1992) by Adam Thorpe, Master Georgie (1998) by Beryl Bainbridge, The Dark Room (2001) by Rachel Seiffert, The Photograph (2003) by Penelope Lively, Double Vision (2003) by Pat Barker and The Rain Before It Falls (2007) by Jonathan Coe. The scenes of the novels are set widely apart and have time spans of various duration. Ulverton and Master Georgie have a mid-19th century setting, The Dark Room is centered round WWII, Out of this World and The Rain before It Falls contain their heroes’ long life stories, while The Photograph and Double Vision are set at the end of the last century and their characters are our contemporaries. The novels also differ by the particular place photographs occur in the novels, by the roles they play there, as well as by the issues associated with them.

It may have been the hottest June day for 40 years but Vision Express CEO, Jonathan Lawson, was keeping a cool head on political influence, acquisitions and taking vision seriously, Chris Bennett reports.

L'articolo affronta il tema dell'ambiguitŕ tramite l'indagine psicoanalitica del soggetto etico. Dopo una distinzione tra morale ed etica, sono passati in rassegna i maggiori contributi psicoanalitici sul tema. Attraverso la rilettura del romanzo Le benevole di Jonathan Littell, sono individuati i segni ambigui del disconoscimento dell'inconscio che contraddistinguono il soggetto etico. In conclusione, vengono descritte alcune figure dell'ambiguitŕ che ricorrono nel lavoro psicoanalitico.

Correction for ‘Interplay between H₂O and CO₂ coadsorption and space-charge on Y-doped BaZrO₃ surfaces’ by Jonathan M. Polfus et al., J. Mater. Chem. A, 2018, 6, 24823–24830.

Abstract Modification of the storage atmosphere to improve storage life of pome fruit began with storage in the presence of increased CO2 levels, was introduced by Kidd and West in 1927 (14), and was first used commercially for apples in England in 1929 (48). Controlled ventilation techniques were used in Australia to maintain CO2 at ≈5% and O2 ≈16% by monitoring air ventilation rates into sealed environments containing ‘Jonathan’ apples in 1940 (50) and apples and pears in 1947 (13). The same methods also were reported in the United States in 1941 (47) and in England in 1961 (10).

Il saggio ha l’obiettivo di definire il complesso delle tendenze formali in atto nella narrativa dei giovani in Italia in un quadro cronologico limitato (l’ultimo biennio) e presenta i risultati di una serie di rilievi condotti su testualità, sintassi, stile e lessico interpretabili tanto in sincronia (in relazione alla varietà giovanile coeva di ambito orale) quanto secondo una prospettiva micro-diacronica (in rapporto cioè con la narrativa dei decenni precedenti). A tale fine è stato definito preliminarmente un corpus testuale composto da dieci opere che si concentrano su temi ed esperienze propri del mondo giovanile pubblicate, tra 2021 e 2022, da altrettanti autori, principalmente giovani, tutti, tranne uno (Jonathan Bazzi), esordienti.

- Jonathan, otto anni, di origini camerunensi, affidato alla zia materna a Parigi, non riesce ad apprendere, č agitato e disturba i suoi compagni. L'incapacitŕ ad apprendere č sintomo di un rapporto problematico con il sapere, segnalato dall'angoscia. Il ricorso massiccio all'immaginario di un Io ideale rappresenta un palliativo contro la preclusione della castrazione simbolica. All'agitazione motoria corrisponde un'agitazione verbale che si riproduce anche in seduta. Il godimento del corpo, attraverso la danza frenetica, si offre allo sguardo dell'Altro in un interrogativo sul suo sesso, ma senza una dimensione simbolica della domanda. Il corpo fornisce riparo ad un soggetto che non ha la possibilitŕ di alienarsi nel sapere nella misura in cui il sapere č il luogo di una mancanza non simbolizzabile. Parole chiave: sapere - corpo - godimento - Altro - castrazione - preclusione.

O artigo trata das relações entre professores e alunos e das opressões, violências e desigualdades presentes no sistema escolar norte-americano. Para tanto, examina as memórias de Jonathan Kozol, que no livro Morte em tenra idade, escrito em 1960, narra sua breve experiência como docente de uma escola segregada de Boston, nos Estados Unidos. Na ocasião da publicação de sua autobiografia docente, o autor ofereceu ao público uma obra importante para o questionamento da escola pública de seu país. Além disso, seu relato desvela o cotidiano escolar evidenciando os conteúdos escolares, as formas de ensinar e as condutas abusivas de seus colegas de profissão em relação aos alunos, que não correspondendo às suas representações de excelência, acabavam sofrendo violências físicas e simbólicas, como as que apresentavam a percepção da escola como sendo um “zoológico” e a dos estudantes como sendo “animais”. Seu livro lança luz àquilo que automatizamos e naturalizamos e mostra-nos a literatura como possibilidade de formação e de conhecimento da realidade social, histórica e psicológica.

CME/CNE Information Activity Available Online: To access the article, post-test, and evaluation online, go to http://www.cmscscholar.org. Target Audience: The target audience for this activity is physicians, physician assistants, nursing professionals, and other health-care providers involved in the management of patients with multiple sclerosis (MS). Learning Objectives: Accreditation Statement: This activity has been planned and implemented in accordance with the accreditation requirements and policies of the Accreditation Council for Continuing Medical Education (ACCME) through the joint providership of the Consortium of Multiple Sclerosis Centers (CMSC), Nurse Practitioner Alternatives (NPA), and Delaware Media Group. The CMSC is accredited by the ACCME to provide continuing medical education for physicians. The CMSC designates this journal-based CME activity for a maximum of 1.0 AMA PRA Category 1 Credit(s)™. Physicians should claim only the credit commensurate with the extent of their participation in the activity. Nurse Practitioner Alternatives (NPA) is accredited as a provider of continuing nursing education by the American Nurses Credentialing Center's Commission on Accreditation. NPA designates this enduring material for 1.0 Continuing Nursing Education credit (none in the area of pharmacology). Laurie Scudder, DNP, NP, has served as Nurse Planner for this activity. She has disclosed no relevant financial relationships. Disclosures: Editor in Chief of the International Journal of MS Care (IJMSC), has served as Physician Planner for this activity. He has received consulting fees from Acorda Therapeutics and Atlas5D and has received research support from Acorda Therapeutics and Atlas5D.Francois Bethoux, MD, has served as Nurse Planner for this activity. She has disclosed no relevant financial relationships.Laurie Scudder, DNP, NP, has disclosed no relevant financial relationships.Marcia Aparecida Ciol, PhD, has disclosed no relevant financial relationships.Patricia Noritake Matsuda, PT, PhD, DPT, has received consulting fees from Mallinckrodt and has received research support from Mallinckrodt and Medtronics.Seema Rani Khurana, DO, has disclosed no relevant financial relationships.Melissa Jaclyn Cline, MD, has received research support from MC10, Inc, and Perimobile, Inc, and has an ownership interest in Intelliwheels, Inc.Jacob Jonathan Sosnoff, PhD, is a member of the Axon Council, Acorda Pharmaceuticals.George Howard Kraft, MD, MS, The anonymous peer reviewer for the IJMSC has disclosed no relevant financial relationships. The staff at the IJMSC, CMSC, NPA, and Delaware Media Group who are in a position to influence content have disclosed no relevant financial relationships. Method of Participation: Release Date: August 1, 2017 Valid for Credit Through: August 1, 2018 In order to receive CME/CNE credit, participants must: Statements of Credit are awarded upon successful completion of the post-test with a passing score of >70% and the evaluation. There is no fee to participate in this activity. Disclosure of Unlabeled Use: This CME/CNE activity may contain discussion of published and/or investigational uses of agents that are not approved by the FDA. CMSC, NPA, and Delaware Media Group do not recommend the use of any agent outside of the labeled indications. The opinions expressed in the educational activity are those of the faculty and do not necessarily represent the views of CMSC, NPA, or Delaware Media Group. Disclaimer: Participants have an implied responsibility to use the newly acquired information to enhance patient outcomes and their own professional development. The information presented in this activity is not meant to serve as a guideline for patient management. Any medications, diagnostic procedures, or treatments discussed in this publication should not be used by clinicians or other health-care professionals without first evaluating their patients' conditions, considering possible contraindications or risks, reviewing any applicable manufacturer's product information, and comparing any therapeutic approach with the recommendations of other authorities.

AbstractOsmotic dehydration is the pre-treatment method of preservation the fruits and vegetables to increase their shelf life. This method consists of immersing fruits and vegetables in concentrated solutions of salt or sugar. The effect of osmotic dehydration was investigated on the color and chemical characteristics of dehydrated fruits (apple and pear) in fructose osmotic solutions. Difference in CIE-LAB, chroma - C* and hue angle H* were performed with a Chroma Meter CR-400/410. Apple (Malus domestica ‘Jonathan’) and sweet autumn pear variety (Pyrus comunis) were osmotically dehydrated in three aqueous solution of fructose (40, 60 and 80%), during 3 h of process at temperatures of 20 °C, with fruit/osmotic agent ratio of 2:1. Water loss and solids gain showed significant differences depending on the concentration of the osmotic agent and process time. The use of highly concentrated osmotic solutions induced losses of phenolic content (TPC) and ascorbic acid in the sliced apples and pears. Fructose concentration and osmosis time induce significant increase of a* and b* colorimetric parameters but did not affect the lightness (L*) of pear slices.

Welcome to the first issue of this year's AI Matters Newsletter! We start with a report on upcoming SIGAI Events by Dilini Samarasinghe and Conference reports by Louise Dennis, our conference coordination officers. In our regular Education column, Duri Long, Jonathan Moon, and Brian Magerko introduce two "unplugged" activities (i.e., no technology needed) to learn about AI focussed on K-12 AI Education. We then bring you our regular Policy column, where Larry Medsker covers several topics on AI policy, including the role of Big Tech on AI Ethics and an interview with Dr. Eric Daimler who is the CEO of the MIT-spinout Conexus.com. Finally, we close with four article contributions. The first article discusses emerging applications of AI in analyzing source code and its implications to several industries. The second article discusses topics in the area of physical scene understanding that are necessary for machines to perceive, interact, and reason about the physical world. The third article presents novel practices and highlights from the Fourth Workshop on Mechanism Design for Social Good. The fourth article provides a report on the "Decoding AI" event that was conducted online by ViSER for high school students and adults sponsored by ACM SIGAI.

Abstract Background In January 2021, the first ever long-acting injectable (LAI) antiretroviral therapy (ART), cabotegravir/rilpivirine (CAB/RPV), was approved for maintenance HIV-1 treatment in select patients with virologic suppression. LAI-ART has the potential to improve ART adherence, reduce HIV stigma, and promote equity in care outcomes, however, implementation in real-world settings has yet to be evaluated. Methods We launched a pilot LAI-ART program at the largest Ryan White-funded HIV clinic in the Southeast. From 4/14/21 to 5/14/21, providers referred patients interested and willing to switch to LAI-CAB/RPV who met screening criteria. Our interdisciplinary LAI team (Clinician-Pharmacy-Nursing) verified clinical eligibility (HIV-1 < 200 c/ml ≥6 months and no history of virologic failure, resistance to either drug, or chronic HBV infection) and pursued medication access for 28-day oral lead-in and monthly injectable CAB/RPV. We describe demographic and clinical variables of referred PWH and early outcomes in accessing LAI-ART. Results Among 42 referrals, median age was 40.5 (Q1-Q3, 32-52) years, 83% were men, and 76% Black. Payor source distribution was 26% Private, 19% Medicare, 10% Medicaid, and 45% ADAP. At the time of referral, median CD4 count was 583 (Q1-Q3, 422-742) cells/mm3 and median sustained HIV-1 RNA < 200 c/ml was 1427 (Q1-Q3, 961-2534) days. A total of 35 patients (74%) met clinical eligibility for LAI-CAB/RPV, including 4 patients who required a transition off proton pump inhibitor therapy to accommodate oral RPV. Ineligible PWH were excluded due to evidence of RPV resistance (n=5), possible RPV hypersensitivity (n=1), and HIV non-suppression (n=1). The table summarizes the process of pursuing LAI-ART access for the initial 10 enrollees by insurance status. Conclusion Our experience implementing LAI-ART at a Ryan White-funded HIV clinic in the Southern U.S. has been challenged by substantial human resource capital to attain drug, delayed therapy initiation due to insurance denials, and patient ineligibility primarily due to concern for potential RPV resistance. These barriers may perpetuate disparities in ART access and virologic suppression among PWH and need to be urgently addressed so that LAI-ART can be offered equitably. Disclosures Lauren F. Collins, MD, MSc, Nothing to disclose Bradley L. Smith, Pharm.D., AAHIVP, Gilead Sciences, Inc (Advisor or Review Panel member) Wendy Armstrong, MD, Nothing to disclose Jonathan Colasanti, MD, Integritas CME (Consultant, develop and deliver CME content around Rapid Entry/Rapid ART)

Abstract In the period from 26th until 29th of September 2019, the 15th BANTAO Congress (Balkan Cities Association of Nephrology, Dialysis, Transplantation and Artificial Organs) in conjunction with the 6th Congress of the Macedonian Society of Nephrology, Dialysis, Transplantation and Artificial Organs (MSNDTAO) was held in Skopje, Republic of North Macedonia, hosted by the Macedonian Academy of Sciences and Arts (MASA). MSNDTAO was created in 1992 and the First Congress of the MSNDTAO was held on 9th October 1993 in Ohrid when, also, the Balkan Association of Nephrology, Dialysis, Transplantation and Artificial Organs (BANTAO) was established, as the only professional association of this kind in the Balkans and Southern Europe. Since then, MSNDTAO has been very active in education and collaboration with BANTAO, the European Renal Association (ERA-EDTA) and the International Society of Nephrology (ISN). The 15th BANTAO and the 6th MSNDTAO Congress were highly professional events in honor of the 80th anniversary of Academician Momir Polenakovic from the Republic of North Macedonia, one of the founders of BANTAO and MSNDTAO, who was unselfishly dedicated to the education and guidance for many generations of young doctors in this region. This year’s Congress was endorsed by the ERA-EDTA, and supported by the ISN. On the first day of the Congress, a European Renal Best Practice (ERBP) session was held, in which the Chair of the ERBP Working Group, Prof. Dr. Jonathan Fox gave a comprehensive insight of the purpose and aims of ERBP, the methods used for their achievement, and an overview of the recently produced and guidelines in development. The second day was organized in four sessions: Clinical nephrology and renal registries; CKD Diagnosis, comorbidities and treatment; Kidney transplantation and Acute and chronic renal failure management. On the third congress day, the ISN CME Course with ERA-EDTA endorsement was held. The course was entitled “Possibility of diagnosis and treatment of the CKD progression and complications/Possibility of diagnosis and treatment of the CKD progression – current perspective” and was chaired by Prof. Dr. Caskey Fergus and Prof. Dr. Serhan Tuglular. On the last Congress day, before the official closure and the best wishes from the President of the Congress, Prof. Dr. Goce Spasovski, a session about CKD and the renal replacement therapy complications was held. This event was of an exceptional importance for the region, considering the charred international achievements and the most up-to-date methods used in the Nephrology field, bringing out continuous quality improvement in the treatment of patients with renal diseases.

COP26 concluded with mixed results. It was the first formal opportunity since the 2015 Paris Agreement for countries to revise their nationally determined contributions (NDCs) for the 2030 targets and to offer long-term greenhouse-gas reduction strategies to 2050. Pledges were made. Early indications suggest that if the pledges covering about 90% of global emissions are followed by action and completed in full and on time, a temperature increase of around 1.8°C to 2.1°C by 2100 could be seen. But without stronger actions taken to 2030, the temperature will likely be higher, according to IPIECA. The Paris Agreement set a global framework “to avoid dangerous climate change by limiting global warming to well below 2°C and pursuing efforts to limit it to 1.5°C. It also aims to strengthen countries’ ability to deal with the impacts of climate change and support them in their efforts.” Even before COP26 began, a pledge made in 2009 and reaffirmed at the 2015 Paris meeting was stirring up frustration. A target was missed for rich countries to provide poor nations with $100 billion in aid each year to confront global warming. Current data show the goal, which was to have been met in 2020, won’t be reached until 2023—3 years later than agreed. The report was compiled by Canada’s Minister of Environment and Climate Change, Jonathan Wilkinson, and Germany’s Deputy Environment Minister, Jochen Flasbarth. They drew on international climate finance tracking data provided by the Organization for Economic Cooperation and Development. Flasbarth, quoted by the Associated Press, said, “Not all of our conversations were really (...) polite,” referring to talks that had taken place with rich and poor nations in recent weeks. A catch-up plan was drafted for COP26. Alok Sharma, the UK official who chaired the talks about this issue, said, “The plan provides confidence that the $100 billion will be met in 2023, and importantly, it projects that the $100 billion will be exceeded in subsequent years, with up to $117 billion being mobilized in 2025.” While it’s clear that much work needs to be done to move toward the temperature goal, it also can’t be denied that incremental progress has been made. Business models, practices, and operations have changed across the oil and gas industry and will continue to do so as energy transition, climate, and oil and gas prices drive decisions. A case in point was Shell’s announcement on 15 November that it intends to move its tax residence from the Netherlands to the UK, where it is incorporated. CEO Ben van Beurden and other top executives will move to a UK corporate headquarters. One of the reasons given was that “ … it’s even more important that we have an increased ability to accelerate the transition to a lower-carbon global energy system. A simpler structure will enable Shell to speed up the delivery of its Powering Progress strategy, while creating value for our shareholders, customers, and wider society.” COP27 is scheduled for December 2022 in Sharm El-Sheikh, Egypt. Another tallying of actions delivering on pledges will take place and the world will be watching—skeptics, supporters, and those who have acted to build the momentum toward the goal.

e4911050The current situation of planet Earth reiterates the need for a science education capable of promoting active citizenship, based on scientific knowledge, that can contribute to solving social and environmental problems. This case study, of a qualitative nature, aimed to study the perceptions of Biology and Geology students about the educational potential of developing a scientific exhibition on the theme "Anthropic Occupation and Planning Problems" as a strategy of activism. Twenty-five 11th grade students from a public school outside Lisbon (Portugal) participated in this study. The students developed a scientific exhibition during a three weeks project and, at the end, presented that exhibition to the school community for one week. Data was collected, during the week following to the exhibition, through one questionnaire with open-ended and close-ended items. The results indicate that, in the students' opinion, the strategy used allowed the development of competences in the domains of knowledge, reasoning, communication, attitudes, creativity and activism.ResumoA situação atual do planeta Terra reitera a necessidade de uma educação em ciências capaz de promover uma cidadania ativa fundamentada em conhecimento científico que possa contribuir para a resolução de problemas sociais e ambientais. Neste estudo de caso, de natureza qualitativa, pretendeu-se estudar as percepções de alunos de Biologia e Geologia sobre as potencialidades educativas do desenvolvimento de uma exposição científica sobre a temática “Ocupação Antrópica e Problemas de Ordenamento” como estratégia de ativismo. Participaram 25 alunos de uma turma de 11.º ano de uma escola pública dos arredores de Lisboa, Portugal. Os alunos trabalharam em projeto durante três semanas, para planearem e elaborarem uma exposição científica que, por fim, foi aberta à comunidade escolar durante uma semana. No processo de recolha de dados, realizado na semana após a conclusão da exposição, foi utilizado um questionário constituído por itens de resposta fechada e de resposta aberta. As respostas às questões de resposta aberta foram submetidas a análise de conteúdo de tipo categorial. Relativamente às questões fechadas foram calculadas as percentagens das respostas obtidas em cada um dos níveis da escala. Os resultados obtidos indicam que, na opinião dos alunos, a estratégia utilizada permitiu o desenvolvimento de competências nos domínios do conhecimento, raciocínio, comunicação, atitudes, criatividade e ativismo.Palavras-chave: Ativismo, Exposições Científicas, Educação em Ciências.Keywords: Activism, Scientific exhibitions, Science Education.ReferencesALSOP, Steve; BENCZE, Larry. Activism! 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Ensino de Ciências e Tecnologia em Revista, v. 11, n. 1, p. 5-24, 2021.REIS, Pedro; MARQUES, Ana Rita. As exposições como estratégia de ação sociopolítica: Cenários do projeto IRRESISTIBLE. As exposições como estratégia de ação sociopolítica: Cenários do projeto IRRESISTIBLE, 2016. Disponível em: http://hdl.handle.net/10451/24686. Acesso: 21 fev. 2019.ROTH, Wolff-Michael. Learning science in/for community. Comunicac?a?o apresentada no Congreso Ensen?anza de las Cie?ncias, Barcelona. Anais. 2001SADLER, Troy D.; DAWSON, Vaille. Socio-scientific issues in science education: Contexts for the promotion of key learning outcomes. In: Second international handbook of science education. Springer, Dordrecht, 2012. p. 799-809.SADLER, Troy D.; FOWLER, Samantha R. A threshold model of content knowledge transfer for socioscientific argumentation. Science Education, v. 90, n. 6, p. 986-1004, 2006.SANTAMARÍA GONZÁLEZ, Fernando. Redes sociales y comunidades educativas. Posibilidades pedagógicas. Telos, v. 76, 2008.SANTAMARÍA GONZÁLEZ, Fernando. Redes sociales educativas. Nuevas tendencias de e-learning y actividades didácticas innovadoras. Madrid: Landeta CEF, 2010.SCHEID, Neusa Maria John; REIS, Pedro. As tecnologias da informação e da comunicação e a promoção da discussão e ação sociopolítica em aulas de ciências naturais em contexto português. Ciência Educação (Bauru), v. 22, n. 1, p. 129-144, 2016.SPERLING, Erin; BENCZE, John Lawrence. “More Than Particle Theory”: Citizenship Through School Science. Canadian journal of science, mathematics and technology education, v. 10, n. 3, p. 255-266, 2010.UNESCO. A cie?ncia para o se?culo XXI: uma nova visa?o e uma base de ac?a?o. Brasi?lia: UNESCO, ABIPTI. 2003.VON AUFSCHNAITER, Claudia; ERDURAN, Sibel; OSBORNE, Jonathan; SIMON, Shirley. Arguing to learn and learning to argue: Case studies of how students' argumentation relates to their scientific knowledge. 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Background:Therapeutic equivalence of CT-P17 to reference adalimumab (ref-adalimumab) has been shown in patients with moderate-to-severe active rheumatoid arthritis (RA) through primary 24-week results [1]. Here, efficacy, pharmacokinetics (PK), safety and immunogenicity results up to 52-week, including transition data from ref-adalimumab to CT-P17 are presented.Objectives:To evaluate efficacy, PK, safety and immunogenicity when switched from ref-adalimumab to CT-P17 compared to maintaining CT-P17 or ref-adalimumab.Methods:In this study, 648 moderate-to-severe active RA patients despite methotrexate treatment were randomized (1:1) to either CT-P17 or ref-adalimumab and treated with doses of 40 mg every 2 weeks up to Week 24. Prior to dosing at Week 26, 608 patients were randomized again to either maintaining their treatments or being switched from ref-adalimumab to CT-P17. Efficacy, PK, safety, and immunogenicity were assessed up to Week 52.Results:After the second randomization, 303 patients continued with CT-P17, 153 patients continued with ref-adalimumab and 151 patients switched from ref-adalimumab to CT-P17 treatments, up to Week 48. Demographics and baseline characteristics were similar among the 3 groups. Sustained and comparable efficacy in terms of ACR20/50/70 response rates was achieved not only in the maintenance groups (CT-P17 or ref-adalimumab) but also in the switched from ref-adalimumab to CT-P17 group up to Week 52 (Figure 1).Figure 1.ACR 20/50/70 Response Rates up to 1 YearAbbreviation: ref-adalimumab, reference adalimumab.Note. There were patients who could not visit the study site due to COVID-19 pandemic and were counted as nonresponder for ACR response at Week 52.In terms of PK, mean trough serum concentration (Ctrough) were maintained after Week 24 in all 3 groups. The observed mean Ctrough were within the reported therapeutic ranges of ref-adalimumab trough levels in RA patients (5-8 μg/mL).The safety profile after transition was comparable among the 3 groups (Table 1). The most common treatment-emergent adverse events (TEAEs) was neutropenia. Similar proportions of patients in all 3 groups experienced at least 1 TEAE: injection site reactions, hypersensitivity/allergic reactions and infections. One malignancy (basal cell carcinoma; unrelated) was reported in the ref-adalimumab maintenance group. Safety data accumulated over 1 year also showed comparable results among the 3 groups. Anti-drug antibody (ADA) and neutralizing antibody (NAb) results were similar among the 3 groups. At Week 52, the proportions of patients who had ADA/NAbs were 28.4%/24.8% patients in CT-P17 maintenance, 27.0%/24.3% patients in ref-adalimumab maintenance and 28.3%/26.3% patients in switched to CT-P17 groups.Conclusion:Single transition from ref-adalimumab to CT-P17 was efficacious and safe without increase in immunogenicity. Also, efficacy, PK, safety and immunogenicity profiles were comparable between CT-P17 and ref-adalimumab up to Week 52.References:[1]J Kay et al, 2020. Poster Presented at ACR Convergence 2020.Table 1.Overview of TEAEs from Weeks 26 to 52 (Safety Population – second random subset)Patients, n (%)Second RandomizationCT-P17 Maintenance(N=303)Ref-ada Maintenance(N=152)Switched to CT-P17 (N=152)≥1 TEAE121 (39.9)69 (45.4)73 (48.0)≥1 TESAE6 (2.0)3 (2.0)5 (3.3)≥1 TEAE leading to study drug discontinuation3 (1.0)2 (1.3)5 (3.3)≥1 TEAE classified as hypersensitivity/allergic reactions2 (0.7)1 (0.7)0 (0)≥1 TEAE classified as injection site reactions1 (0.3)4 (2.6)1 (0.7)≥1 TEAE classified as infection54 (17.8)41 (27.0)28 (18.4)≥1 TEAE classified as malignancy0 (0)1 (0.7)0 (0)Abbreviations: Ref-ada, reference adalimumab; TEAE, treatment-emergent adverse event; TESAE, treatment-emergent serious adverse event.Disclosure of Interests:Daniel Furst Speakers bureau: CME, Consultant of: Amgen, Corbus, Galapagos, Horizon, Kadmon, Pfizer, Talaris, Grant/research support from: Corbus, CSL Behring, Galapagos, Gilead, GSK, Horizon, Kadmon, Novartis, Pfizer, Roche/Genetech, Talaris, Edward Keystone Speakers bureau: Amgen, AbbVie, F. Hoffmann-La Roche Inc., Janssen Inc., Merck, Novartis, Pfizer Pharmaceuticals, Sanofi Genzyme, Consultant of: AbbVie, Amgen, Bristol-Myers Squibb Company, Celltrion Inc., Myriad Autoimmune, F. Hoffmann-La Roche Inc, Gilead, Janssen Inc., Lilly Pharmaceuticals, Merck, Pfizer Pharmaceuticals, Sandoz, Sanofi-Genzyme, Samsung Bioepis, Grant/research support from: Amgen, Merck, Pfizer Pharmaceuticals, PuraPharm, Jonathan Kay Consultant of: AbbVie, Inc., Boehringer Ingelheim GmbH, Celltrion Healthcare Co. Ltd., Jubilant Radiopharma, Merck & Co., Inc., Pfizer Inc., Samsung Bioepis, Sandoz Inc., Scipher Medicine, UCB, Inc., Grant/research support from: Paid to the University of Massachusetts Medical School: Gilead Sciences Inc., Novartis Pharmaceuticals Corp., Pfizer Inc., Janusz Jaworski: None declared, Rafal Wojciechowski: None declared, Piotr Wiland Speakers bureau: Eli Lilly, Sanofi Aventis, Novartis, Sandoz, Consultant of: Eli Lilly, Novartis, Sandoz, Anna Dudek: None declared, Marek Krogulec: None declared, Sławomir Jeka Speakers bureau: Novartis, Pfizer, Roche, Lilly, Teva, MSD, Abbvie, Sandoz, Egis, Medac, Consultant of: Novartis, Pfizer, Roche, Lilly, Teva, MSD, Abbvie, Sandoz, Egis, Medac, Agnieszka Zielinska: None declared, Jakub Trefler: None declared, Katarzyna Bartnicka-Masłowska: None declared, Magdalena Krajewska-Wlodarczyk Speakers bureau: Abbvie, Eli Lilly, Novartis, Roche, Piotr Klimiuk: None declared, Sang Joon Lee Employee of: Celltrion, Inc., Sung Hyun Kim Employee of: Celltrion, Inc., YunJu Bae Employee of: Celltrion, Inc., GoEun Yang Employee of: Celltrion, Inc., JaeKyoung Yoo Employee of: Celltrion, Inc., TaeKyung Kim Employee of: Celltrion, Inc.

Introduction: MAVORIC was an open-label, multicenter, randomized phase 3 study evaluating the safety and efficacy of mogamulizumab (moga) compared to vorinostat (vori) in patients with mycosis fungoides (MF) or Sézary syndrome (SS) who had failed at least one prior course of systemic therapy (NCT01728805). Primary results have been reported (Kim et al. Lancet Oncol 2018) and were based on a data cutoff date of December 31, 2016. The primary endpoint was progression-free survival (PFS); patients in the moga treatment arm experienced significantly longer PFS compared to patients in the vori treatment arm (median 7.7 months vs 3.1 months; p<0.0001). The most common treatment-emergent adverse events (TEAEs) of any cause or grade reported in patients randomized to moga were: infusion-related reaction (33.2%), drug eruption (ie, skin rash attributed to moga [23.9%]), diarrhea (23.4%), and fatigue (23.4%). This report provides the final safety results of MAVORIC as of the data available on January 3, 2019. Methods: Patients were randomized 1:1 to moga 1.0 mg/kg administered intravenously on Days 1, 8, 15, and 22 of the first cycle and on Days 1 and 15 of subsequent cycles or vori 400 mg administered orally once daily. Patients randomized to vori were allowed to cross over to moga upon progression or intolerable toxicity. Safety was assessed by reported adverse events (AEs), changes in physical examinations, vital sign measurements, electrocardiograms, and laboratory analyses. Results: In total, 372 patients were randomized (moga, 186; vori, 186), of whom 370 received study drug and were included in the safety analysis (moga, 184; vori, 186). For the final safety analysis, median duration of follow-up was 34.5 months (range, 0.13-70.0) in the randomized part of the study. Median treatment exposure was 170 days (range, 1-1813) for moga and 84 days (4-1230) for vori, which represent the same median values but broader ranges compared to the primary analysis (primary analysis, 170 days [1-1379] for moga and 84 days [4-1058] for vori). The type and frequency of AEs in either the moga or vori treatment groups (Table) were consistent with those reported in the primary analysis. TEAEs, regardless of causality, that were reported at similar rates in the two treatment groups included constipation, peripheral edema, headache, and anemia. TEAEs (all causality) that occurred at higher frequency in the moga vs vori arm included infusion-related reaction (33.2% vs 0.5%) and drug eruption (25.0% vs 1.1%); the majority of these events were grade 1 or 2 (Table). The types and frequencies of AEs attributable to moga (per Investigator assessment) included infusion-related reaction (33.2% [61/184]), drug eruption (23.9% [44/184]), and fatigue (18.5% [34/184]), and for vori, diarrhea (55.4% [103/186]), nausea (38.2% [71/186]), and fatigue (33.3% [62/186]). In patients who crossed over from the vori to moga arm and received study drug (n=135), the most frequently reported AEs attributable to moga were infusion-related reaction (37.8% [51/135]), drug eruption (24.4% [33/135]), fatigue (7.4% [10/135]), increased alanine aminotransferase (7.4% [10/135]), and increased aspartate aminotransferase (7.4% [10/135]). Discontinuation rates due to AEs were similar between treatment arms and in crossover patients (moga, 21.7% [40/184]; vori, 23.7% [44/186]; crossover, 25.9% [35/135]). The most common AEs leading to discontinuation were drug eruption in the moga arm (7.1% [13/184]) and fatigue in the vori arm (4.3% [8/186]). Overall, the rates of drug-related serious TEAEs were similar between treatment arms and in crossover patients (moga, 19.6% [36/184]; vori, 16.7% [31/186]; crossover, 11.9% [16/135]). After the data cutoff for the primary analysis, 1 additional patient randomized to moga (decreased appetite, general physical health deterioration, hypoalbuminemia) and 1 crossover patient (cerebral hemorrhage) experienced TEAEs with an outcome of death, all considered unrelated to study treatment per Investigator. Conclusions: This final safety analysis from the MAVORIC study in patients with previously treated MF and SS demonstrates that moga was generally well tolerated. Longer follow-up and treatment exposure did not identify any new safety signals. The type and incidence of treatment-related AEs among patients receiving moga after crossover were similar to those observed for patients initially randomized to moga. Disclosures Kim: Merck: Research Funding; Portola Pharmaceuticals: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Horizon: Research Funding; Corvus: Honoraria, Membership on an entity's Board of Directors or advisory committees; Galderma: Research Funding; Elorac: Research Funding; Soligenix: Research Funding; Kyowa Hakko Kirin: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Eisai: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Takeda: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Forty Seven Inc: Research Funding; Seattle Genetics: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Medivir: Honoraria, Membership on an entity's Board of Directors or advisory committees; Innate Pharma: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Trillium: Research Funding; Neumedicine: Research Funding; miRagen: Research Funding. Bagot:Innate Pharma: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding. Zinzani:MSD: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Eusapharma: Consultancy, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Sanofi: Consultancy; Celltrion: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Gilead: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Janssen-Cilag: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; BMS: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Servier: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Sandoz: Membership on an entity's Board of Directors or advisory committees; Immune Design: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Celgene: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Portola: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Roche: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Kyowa Kirin: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; TG Therapeutics: Honoraria, Speakers Bureau; Verastem: Consultancy, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau. Duvic:Seattle Genetics: Consultancy, Honoraria, Research Funding; Eisai: Research Funding; Shape: Research Funding; UT MD Anderson Cancer Center: Employment; USCLC Registry: Consultancy, Membership on an entity's Board of Directors or advisory committees, Other: Secretary/treasurer of Item h; Spatz Foundation: Research Funding; Tetralogic: Research Funding; Millennium (formerly Takeda): Research Funding; Mallinckrodt Pharmaceuticals (formeraly Therakos, Inc): Research Funding; Kyowa Hakko Kirin Co., Ltd.: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Forty Seven Inc: Membership on an entity's Board of Directors or advisory committees; Cutaneous Lymphoma Foundation: Membership on an entity's Board of Directors or advisory committees; PleXus Communications: Speakers Bureau; Guidepoint Global: Consultancy; Evidera, Inc.: Consultancy; Cell Medica Inc.: Consultancy; Allos: Research Funding; Rhizen Pharma: Research Funding; Oncoceuticals: Research Funding; Soligenetics: Research Funding; Cell Medica Ltd.: Honoraria; Therakos: Speakers Bureau; Jonathan Wood & Assoc.: Speakers Bureau; Hawaiian Dermatology Society: Speakers Bureau; Hemedicus: Speakers Bureau; Janssen Pharmaceuticals (div of Johnson & Johnson): Speakers Bureau. Morris:Guys Hospital: Employment. Kim:Medimmune: Research Funding; Soligenix: Research Funding; Kyowa Kirin: Research Funding; Galderma: Consultancy, Research Funding; Actelion: Consultancy, Research Funding. Musiek:Menlo: Other: Investigator; Helsinn: Membership on an entity's Board of Directors or advisory committees; Soligenix: Other: Investigator; Pfizer: Other: Investigator; Elorac: Other: Investigator; Kyowa: Honoraria, Other: Above honoraria: for Ad Board; miRagen: Other: Investigator. Ortiz-Romero:Actelion: Consultancy, Membership on an entity's Board of Directors or advisory committees; Kyowa: Membership on an entity's Board of Directors or advisory committees; Takeda: Membership on an entity's Board of Directors or advisory committees; PLCG1: Patents & Royalties; miRagen: Membership on an entity's Board of Directors or advisory committees; MEDA: Research Funding; Innate Pharma: Membership on an entity's Board of Directors or advisory committees; 4SC: Membership on an entity's Board of Directors or advisory committees. Eradat:Kyowa: Research Funding; Kite: Research Funding; Pharmacyclics: Consultancy, Honoraria, Research Funding, Speakers Bureau; Roche: Research Funding; Genentech: Consultancy, Honoraria, Research Funding, Speakers Bureau; AbbVie: Consultancy, Honoraria, Research Funding, Speakers Bureau; Gilead: Research Funding. Magnolo:University Hospital of Muenster, Center of Innovative Dermatology: Employment. Scarisbrick:Kyowa Kirin: Consultancy, Membership on an entity's Board of Directors or advisory committees; Takeda: Consultancy, Membership on an entity's Board of Directors or advisory committees; Recordat: Consultancy; 4SC: Consultancy, Membership on an entity's Board of Directors or advisory committees; Innate Pharma: Consultancy, Membership on an entity's Board of Directors or advisory committees; Helsinn: Consultancy, Membership on an entity's Board of Directors or advisory committees. Dalle:Kyowa: Other: Principal Investigator in clinical trials promoted by Kyowa. Fisher:Kyowa Kirin: Consultancy. Poligone:Stemline Therapeutics: Consultancy, Speakers Bureau; Regeneron: Consultancy, Speakers Bureau; Actelion: Consultancy, Speakers Bureau; Astex Pharmaceuticals: Research Funding; Bioniz: Research Funding; Celgene: Consultancy; Helsinn: Research Funding, Speakers Bureau; Innate Pharma: Research Funding; Kyowa Hakko Kirin: Consultancy, Honoraria, Research Funding, Speakers Bureau; miRagen: Research Funding; Soligenix: Research Funding. Pro:Takeda: Consultancy, Honoraria, Other: Travel Expenses; Celgene: Consultancy, Honoraria; Kyowa Hakka Kirin: Consultancy, Honoraria; Seattle Genetics: Consultancy, Honoraria, Other: Travel Expenses, Research Funding. Quaglino:Actelion: Honoraria, Other: Advisory Board; Innate Pharma: Honoraria, Other: Advisory Board; Takeda: Honoraria, Other: Advisory Board; Kyowa Kirin: Honoraria, Other: Advisory Board; Helsinn: Honoraria, Other: Advisory Board; Therakos: Honoraria, Other: Advisory Board. Reddy:AbbVie: Honoraria; Janssen: Honoraria; KITE: Honoraria; Merck: Research Funding; Celgene: Honoraria, Speakers Bureau. Geskin:Merck: Other: Supported/Contracted Research; UpToDate: Patents & Royalties: Royalty, Receipt of Intellectual Property Rights / Patent Holder; Actelion: Other: Supported/Contracted Research; Helsinn: Consultancy, Honoraria, Other: Supported/Contracted Research; Stratpharma: Other: Supported/Contracted Research; Mallinckrodt: Consultancy, Honoraria, Other: Supported/Contracted Research; Medscape: Speakers Bureau; Medivir: Consultancy, Honoraria. Halwani:Amgen: Other: Investigator; Takeda: Other: PI; Seattle Genetics: Other: PI; Pharmacyclics: Other: Investigator; miRagen: Other: PI; Kyowa Hakko Kirin: Other: PI; Immune Design: Other: PI; Genentech, Inc.: Other: Investigator; Bristol-Myers Squibb: Other: PI; AbbVie: Other: PI. Khot:Peter MacCallum Cancer Centre: Employment; Amgen: Consultancy, Speakers Bureau; Celgene: Consultancy; Janssen: Consultancy; Kyowa Hakko Kirin: Consultancy. Korman:Genentech: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Dermira: Research Funding; Glaxo: Honoraria, Membership on an entity's Board of Directors or advisory committees; Immune Pharma: Honoraria, Membership on an entity's Board of Directors or advisory committees; Janssen: Honoraria, Membership on an entity's Board of Directors or advisory committees; Kyowa: Research Funding; Leo: Research Funding; Menlo: Research Funding; Merck: Research Funding; Novartis: Consultancy, Honoraria, Speakers Bureau; Pfizer: Research Funding; Principia: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Prothena: Research Funding; Regeneron: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Rhizen: Research Funding; Sun: Honoraria, Membership on an entity's Board of Directors or advisory committees; Syntimmune: Research Funding; UCB: Research Funding; Valeant: Honoraria, Membership on an entity's Board of Directors or advisory committees; Eli Lilly: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; Celgene: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Bristol-Myers Squibb: Research Funding; AbbVie: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau. Horwitz:Seattle Genetics: Consultancy, Research Funding; Affimed: Consultancy; Astex: Consultancy; Portola: Consultancy; ADCT Therapeutics: Research Funding; Kyowa Hakko Kirin: Consultancy; Infinity/Verastem: Consultancy, Research Funding; Miragen: Consultancy; Seattle Genetics: Consultancy, Research Funding; Forty-Seven: Research Funding; Celgene: Consultancy, Research Funding; Millennium/Takeda: Consultancy, Research Funding; Miragen: Consultancy; Innate Pharma: Consultancy; Kura: Consultancy; Corvus Pharmaceuticals: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Miragen: Consultancy; Infinity/Verastem: Consultancy, Research Funding; Millennium/Takeda: Consultancy, Research Funding; Portola: Consultancy; Kura: Consultancy; Celgene: Consultancy, Research Funding; Kura: Consultancy; Kyowa Hakko Kirin: Consultancy; Infinity/Verastem: Consultancy, Research Funding; Forty-Seven: Research Funding; Trillium: Research Funding; Corvus Pharmaceuticals: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Celgene: Consultancy, Research Funding; Astex: Consultancy; Affimed: Consultancy; ADCT Therapeutics: Research Funding; Aileron: Research Funding; Corvus Pharmaceuticals: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Kyowa Hakko Kirin: Consultancy; Trillium: Research Funding; Millennium/Takeda: Consultancy, Research Funding; Mundipharma: Consultancy; Millennium/Takeda: Consultancy, Research Funding; Kyowa Hakko Kirin: Consultancy; Portola: Consultancy; Aileron: Research Funding; Mundipharma: Consultancy; Celgene: Consultancy, Research Funding; Mundipharma: Consultancy; Seattle Genetics: Consultancy, Research Funding; ADCT Therapeutics: Research Funding; Portola: Consultancy; Kura: Consultancy; ADCT Therapeutics: Research Funding; Corvus Pharmaceuticals: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Infinity/Verastem: Consultancy, Research Funding; Aileron: Research Funding; Affimed: Consultancy; Trillium: Research Funding; Innate Pharma: Consultancy; Affimed: Consultancy; Astex: Consultancy; Mundipharma: Consultancy; Aileron: Research Funding; Miragen: Consultancy; Trillium: Research Funding; Innate Pharma: Consultancy; Forty-Seven: Research Funding; Forty-Seven: Research Funding; Innate Pharma: Consultancy; Astex: Consultancy; Seattle Genetics: Consultancy, Research Funding. Lamar:Seattle Genetics: Consultancy; Kyowa: Consultancy, Membership on an entity's Board of Directors or advisory committees. Moskowitz:Cell Medica: Consultancy; ADC Therapeutics: Consultancy; Merck: Research Funding; Erytech Pharma: Consultancy; Takeda Pharmaceuticals: Consultancy; Erytech Pharma: Consultancy; Merck: Research Funding; Kyowa Hakko Kirin Pharma: Consultancy, Research Funding; Erytech Pharma: Consultancy; Incyte: Research Funding; Kyowa Hakko Kirin Pharma: Consultancy, Research Funding; Merck: Research Funding; Erytech Pharma: Consultancy; ADC Therapeutics: Consultancy; ADC Therapeutics: Consultancy; Bristol-Myers Squibb: Consultancy, Research Funding; Bristol-Myers Squibb: Consultancy, Research Funding; Erytech Pharma: Consultancy; Bristol-Myers Squibb: Consultancy, Research Funding; miRagen Therapeutics Inc: Consultancy, Research Funding; Kyowa Hakko Kirin Pharma: Consultancy, Research Funding; Takeda Pharmaceuticals: Consultancy; Seattle Genetics: Consultancy, Honoraria, Research Funding; Cell Medica: Consultancy; Erytech Pharma: Consultancy; Seattle Genetics: Consultancy, Honoraria, Research Funding; Cell Medica: Consultancy; Merck: Research Funding; Kyowa Hakko Kirin Pharma: Consultancy, Research Funding; ADC Therapeutics: Consultancy; Merck: Research Funding; Cell Medica: Consultancy; Cell Medica: Consultancy; ADC Therapeutics: Consultancy; Incyte: Research Funding; Takeda Pharmaceuticals: Consultancy; Seattle Genetics: Consultancy, Honoraria, Research Funding; Cell Medica: Consultancy; Cell Medica: Consultancy; miRagen Therapeutics Inc: Consultancy, Research Funding; Bristol-Myers Squibb: Consultancy, Research Funding; Bristol-Myers Squibb: Consultancy, Research Funding; miRagen Therapeutics Inc: Consultancy, Research Funding; Erytech Pharma: Consultancy; miRagen Therapeutics Inc: Consultancy, Research Funding; Incyte: Research Funding; Incyte: Research Funding; miRagen Therapeutics Inc: Consultancy, Research Funding; miRagen Therapeutics Inc: Consultancy, Research Funding; Bristol-Myers Squibb: Consultancy, Research Funding; Kyowa Hakko Kirin Pharma: Consultancy, Research Funding; Bristol-Myers Squibb: Consultancy, Research Funding; Merck: Research Funding; Seattle Genetics: Consultancy, Honoraria, Research Funding; Kyowa Hakko Kirin Pharma: Consultancy, Research Funding; ADC Therapeutics: Consultancy; Merck: Research Funding; ADC Therapeutics: Consultancy; Bristol-Myers Squibb: Consultancy, Research Funding; Merck: Research Funding; Bristol-Myers Squibb: Consultancy, Research Funding; Cell Medica: Consultancy; Seattle Genetics: Consultancy, Honoraria, Research Funding; Seattle Genetics: Consultancy, Honoraria, Research Funding; Bristol-Myers Squibb: Consultancy, Research Funding; Bristol-Myers Squibb: Consultancy, Research Funding; Bristol-Myers Squibb: Consultancy, Research Funding; Incyte: Research Funding; Takeda Pharmaceuticals: Consultancy; Takeda Pharmaceuticals: Consultancy; Cell Medica: Consultancy; Cell Medica: Consultancy; Cell Medica: Consultancy; Incyte: Research Funding; Incyte: Research Funding; Erytech Pharma: Consultancy; ADC Therapeutics: Consultancy; Erytech Pharma: Consultancy; Erytech Pharma: Consultancy; Erytech Pharma: Consultancy; Bristol-Myers Squibb: Consultancy, Research Funding; Erytech Pharma: Consultancy; Erytech Pharma: Consultancy; Seattle Genetics: Consultancy, Honoraria, Research Funding; Kyowa Hakko Kirin Pharma: Consultancy, Research Funding; Merck: Research Funding; Takeda Pharmaceuticals: Consultancy; Merck: Research Funding; Seattle Genetics: Consultancy, Honoraria, Research Funding; Merck: Research Funding; Seattle Genetics: Consultancy, Honoraria, Research Funding; Seattle Genetics: Consultancy, Honoraria, Research Funding; miRagen Therapeutics Inc: Consultancy, Research Funding; Incyte: Research Funding; Seattle Genetics: Consultancy, Honoraria, Research Funding; Merck: Research Funding; Seattle Genetics: Consultancy, Honoraria, Research Funding; Bristol-Myers Squibb: Consultancy, Research Funding; miRagen Therapeutics Inc: Consultancy, Research Funding; ADC Therapeutics: Consultancy; miRagen Therapeutics Inc: Consultancy, Research Funding; 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Wells:Takeda Pharmaceuticals Australia Pty Limited: Membership on an entity's Board of Directors or advisory committees; MSD Australia: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau. Akilov:Trillium Therapeutics: Consultancy, Other: PI on the clinical trials, Research Funding; Pfizer: Research Funding. Cowan:Kyowa Kirin: Consultancy. 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According to previous studies some anatomical features seem to be connected with resistance or susceptibility to scab caused by Venturia ineaqulis (Cke./Wint.) in case of a given cultivar. Study of leaf anatomy of three scab resistant (‘Prima’, ‘Florina’, MR–12) and two susceptible (‘Watson Jonathan’, ‘Golden Delicious Reinders’) apple cultivars have been made. Preserved preparations made of leaves has been studied by light microscope. Studied parameters were: thickness of leaf blade, thickness of palisade and spongy parenchyma, thickness of epidermal cells, thickness of the cuticle. By measuring leaf thickness and epidermal cell thickness visible differences appeared in certain cultivars, while most conspicuous difference has been shown in thickness of the cuticle.

Abstract Background PLG0206 is an investigational, engineered cationic antimicrobial peptide designed to overcome the shortcomings of other natural AMPs, such as toxicity and limited activity. PLG0206 has recently been shown to be well tolerated and safe in a phase 1 study. This study evaluated the activity of PLG0206 and comparator antimicrobials against Enterobacterales isolates from the IHMA repository collected from various world-wide locations in 2019. Methods Isolates tested included Citrobacter spp. (151), Enterobacter cloacae (152), Escherichia coli (300), Klebsiella pneumoniae (300), Morganella morganii (43), Proteus spp. (152), Providencia spp. (61) and Serratia marcescens (45). Minimum inhibitory concentrations (MICs) were determined by CLSI broth microdilution in cation-adjusted Mueller Hinton broth (CA-MHB), except for PLG0206 which was tested in RPMI medium due to plate-reading difficulties with CA-MHB. The susceptibility of comparators was determined using the 2022 CLSI breakpoints. MDR was defined as resistance to ≥ 3 antibacterial classes. Results Summary MIC and susceptibility data against Citrobacter spp., E. coli, E. cloacae, and K. pneumoniae are shown in the Table. PLG0206 retained activity against MDR isolates of Citrobacter spp. (26), E. coli (92), E. cloacae (45), and K. pneumoniae (132) with MIC50/90 values of 1/2, 1/2, 1/16 and 8/16 μg/mL, respectively. PLG0206 was essentially inactive against the Morganellaceae and Yersiniaceae isolates tested with MIC50 and MIC90 values of &gt; 32 μg/mL (data not shown). Conclusion PLG0206 was active against isolates from the family Enterobacteriaceae, including MDR strains. The spectrum of activity of PLG0206 ranged from being most active against Citrobacter spp. and least active against K. pneumoniae. These data suggest that the novel antimicrobial peptide PLG0206 could be a potential treatment option against infections caused by Enterobacteriaceae isolates. Disclosures David Huang, MD, PhD, Peptilogics: Employee Jonathan Steckbeck, PhD, Peptilogics: I am CEO of Peptilogics.

Abstract Background PLG0206 is an investigational, engineered cationic antimicrobial peptide designed to overcome the shortcomings of other natural AMPs, such as toxicity and limited activity. PLG0206 has recently been shown to be well tolerated and safe when administered i.v. in a Phase 1 study. The initial proposed indication for this peptide is the treatment of periprosthetic joint infections via irrigation due to a broad spectrum of activity and anti-biofilm properties. This study evaluated the activity of PLG0206 and comparator antimicrobials against staphylococci and enterococci, causes of periprosthetic joint infections, from the IHMA repository of isolates collected from various world-wide locations in 2019. Methods Isolates tested included Enterococcus faecalis (77), E. faecium (75), methicillin-resistant Staphylococcus aureus (MRSA, 180), methicillin-susceptible S. aureus (MSSA, 121) and 152 coagulase-negative staphylococci (CoNS) comprised of S. epidermidis (113), S. haemolyticus (31), S. hominis (4), S. lugdunensis (1), S. saprophyticus (2) and S. simulans (1). Minimum inhibitory concentrations (MICs) were determined by CLSI broth microdilution in cation-adjusted Mueller Hinton broth (CA-MHB), except for PLG0206 which was tested in RPMI medium due to plate-reading difficulties with CA-MHB. The susceptibility of comparators was determined using the 2022 CLSI breakpoints. MDR was defined as resistance to ≥ 3 antibacterial classes. Results When tested in RPMI, 18 E. faecalis, 29 E. faecium, 9 S. aureus and 7 CoNS were unable to grow. Summary MIC and susceptibility data for PLG0206 and comparators just including those isolates able to grow in RPMI are shown in the Table. Identical MIC50 and MIC90 values were obtained for PLG0206 when tested against MDR E. faecium (38), MDR CoNS (63) and MDR MRSA (67). Insufficient numbers of MDR MSSA (7) and MDR E. faecalis (4) were tested to accurately evaluate. Conclusion PLG0206 was the most potent antimicrobial overall (based on MIC50 and MIC90) against enterococci and CoNS and compared well with the comparators against MRSA and MSSA. These data support the evaluation of this novel antimicrobial peptide as a treatment option for periprosthetic joint infections, including those caused by MDR strains. Disclosures David Huang, MD, PhD, Peptilogics: Employee Jonathan Steckbeck, PhD, Peptilogics: I am CEO of Peptilogics.

Introduction Based on the profusion of scholarly and populist analysis of the relationship between books and films one could easily be forgiven for thinking that the exchange between the two media was a decidedly one-way affair. Countless words have been expended upon the subject of literary adaptation, in which the process of transforming stories and novels into cinematic or televisual form has been examined in ways both general and particular. A relationship far less well-documented though is that between popular novels and the films that have spawned them. With the notable exception of Randall D. Larson’s valuable Films into Books, which is centred mainly on correspondence with prolific writers of “novelisations”, academic study of this extremely widespread phenomenon has been almost non-existent. Even Linda Hutcheon’s admirable recent publication, A Theory of Adaptation, makes scant mention of novelisations, in spite of her claim that this flourishing industry “cannot be ignored” (38). Retelling film narratives in a written form is nothing new. Indeed, as Larson notes, “novelisations have existed almost as long as movies have” and can be found as far back as the 1920s, although it was not until the advent of mass-market paperbacks that they truly came into their own (3-4). The sixties and seventies were boom years for novelisations as they provided film lovers with a way to re-experience their favourite movies long after they had disappeared from cinema screens. It shouldn’t be forgotten that before the advent of home video and DVD books were, along with television broadcasts, the most widely accessible way in which people could do so. Even today they continue to appear in book shops. At the same time, the Internet age has fuelled the creation and dissemination of a vast array of “fan-fiction” that supplements the output of authorised writers. Despite the vast consumer appetite for novelisations, however, their critical reception has been noticeably cool. Jonathan Coe’s caustic appraisal of novelisations as “that bastard, misshapen offspring of the cinema and the written word” represents the prevailing attitude toward them (45). The fact that many are genre novels—sci-fi, western and crime thrillers—and that the majority are decidedly low-brow has not helped to secure them critical plaudits. Other reasons though lie beyond these prejudices. For one thing, many are simply not very well written according to any conventional measure. When one considers the time constraints under which a lot of these books were produced this is hardly surprising. Based on his extensive correspondence with authors, Larson suggests four to six weeks as around the average writing time, with some adaptations, such as Michael Avallone’s Beneath the Planet of the Apes, spewed out in a single weekend (12). The quality of the writing in many novelisations is certainly hard to defend, and yet one other widely held view of them holds considerably less water. This is the idea of novelisations as pale shadows of the movies deemed to be their source, in which only the most manifest content of characterisation and plot are reproduced. In this denuded form, it is implied, a great deal of value has been lost while only rarely has anything of significant value been added. This point of view is in strong contrast with the now customary acceptance that in the reverse process of adaptation—from book to film—while some elements may be necessarily or wilfully sacrificed, significant gains in emotional impact, characterisation or other dramatic features may often be made as a result of the different techniques available through the film medium. If we think of films as the source of novelisations we slip into a great fallacy however. In the vast majority of cases the books are not based on films at all but on their screenplays. Unlike literary adaptations, film and book do not draw one from the other but instead each produces in a different medium an adaptation of a shared source. It has generally been considered desirable to have a novelisation available for public purchase by the time the movie reaches theatres and, since time must be allowed for printing and distribution, this has generally meant that the book must be completed before the filming wraps (Larson, 12-3). No wonder, then, that novelisations rarely attempt to describe a film’s mise-en-scène. While the industrial process by which the books are produced can help to explain some features of their relationship to the films whose stories they share, the fact that they are seldom adaptations of these actual films is a point that their marketing has tended to suppress. It is normal for book covers to feature one or more images from the film. Names of stars often appear prominently, and a more detailed list of the film’s key cast and credits can generally be found in smaller print on the back of the book. Novelisations are not sold or consumed as alternative adaptations of a screenplay but through the implication of a much closer relationship to the film than many in fact possess. This discordance allows us to consider novelisations as a re-imagining of the film on two temporal levels. On the one hand, the novelisation can be thought of as preceding the film. It is not unusual for such a book to adapt an older version of the script than the one that was actually shot, thus rendering a single definitive script source elusive if not downright illusory. It is fairly common to find whole scenes missing from the book or conversely to read extensive narrative episodes that never made their way into the finished picture. Dialogue is often a mere paraphrase, no matter how diligently the author has replicated the lines of the script. Such largely unintentional differences can provide fascinating insights into the film’s production history, revealing other paths that the film might well have taken. On the other hand, despite its being published simultaneously with (or even before) the film’s release, a novelisation will often be consumed after viewing the film, in order to help its readers re-experience the movie or to develop and augment that experience. Novelisations can thus be seen to give rise to three main areas of interest. As historical documents they can be of use when considering a film’s developmental process. They also provide alternative readings of the film script and may, by extension, help to enrich a viewer’s retrospective relationship with the film itself. Thirdly, they offer an avenue for exploring the differing narrational forms and capabilities of the two media. “Talk of adaptation,” Yvonne Tasker has argued, “often seems to take place in an abstract hierarchical mode—a hierarchy in which literature seems to emerge as almost by default ‘better’, more complex than film” (18). As we shall see, such a position is not always easy to support. In considering these aspects of the novelisation we now turn to two closely related examples. The film Capricorn One, released in the United States in 1978, was directed by Peter Hyams from his own screenplay. For our purposes it is most notable as one of several works that spawned two separate English language novelisations, each by different authors. One by Bernard L. Ross (a youthful pseudonym of the now popular novelist Ken Follett) was published in England, while Ron Goulart’s version was published in the United States. The story of Capricorn One centres on a colossal fraud perpetrated by NASA in an attempt to conceal a catastrophic problem with its manned mission to Mars. Realising that a fault in the shuttle’s life support system means that the astronauts will not survive the journey, but that admission of failure will provide the government with the long-sought excuse to cut the program’s funding, a conspiracy is hatched to fake a successful mission by enacting the landing in a clandestine television studio. When the shuttle breaks up on re-entry, the three astronauts realise that their existence jeopardises this elaborate fraud and that they must go on the run for a chance at survival. Meanwhile, a journalist finds his own life in peril as he doggedly pursues a hunch that all is not as it should be with the Capricorn One mission. Novelisations as Evidence of the Film’s Production History Each book shows, in a range of ways, its fidelity to a shared source: the screenplay (or, at least, to the elements that remained unchanged through various screenplay drafts). That the screenplay comprised not only extensive dialogue but also some descriptive material becomes clear at a very early stage. Goulart opens with the following image: “The sun, an intense orange ball, began to rise over the Atlantic” (5). Several pages into his own book, Ross introduces the same narrative event with these words: “The morning sun rose like a big orange lollipop over the Atlantic Ocean” (10). The comparability of these visually evocative images with the equivalent moment in the finished film might suggest a fairly straightforward transposition of the screenplay into the three marketed texts. However, other sections belie any such assumption. The books’ origin in the screenplay and not in the film itself, and the considerable evolution that has occurred between screenplay and finished film, are expressed in two main ways. The first is the presence of corresponding scenes in both books that do not occur in the film. Where a non-filmed scene occurs in one book only we can assume a high probability that it is an invention of the book’s author which is intended to develop the narrative or characterisation. When found in both books, though, we can only infer that a scene outlined in the screenplay was dropped during either the film’s production or editing phase. For instance, in all three versions of the narrative, an attempt is made on the life of reporter Robert Caulfield (Elliott Gould) by tampering with his car. A high-speed action sequence culminates when car and driver plummet into a deep river. Whereas the film moves swiftly to the next scene without ever explaining how Caulfield managed to extricate himself from this perilous situation, each book extends the sequence with a description of how he disentangles his trouser leg from the door handle in order to pull himself through the open window and out of the sinking vehicle (Goulart, 96-7; Ross, 86). Indeed, the retention of this scene in the novelisations fills what is in the film an unsatisfying narrative ellipsis. The second proof of an evolution between screenplay and film is perhaps even more interesting in understanding the production process. This is that narrative events do not all occur in the same order in each book. The differences between the two books, as well as between books and film, suggest that Goulart’s was based on a later version of the screenplay as it corresponds more closely with the film’s chronology of events. The narrational structure of each text consists of a number of alternating segments designed to maintain tension while following simultaneously occurring incidents in the adventures of each of the protagonists. This is especially the case in the last half of the story where the three astronauts—Col. Charles Brubaker (James Brolin), Lt. Col. Peter Willis (Sam Waterston) and Cmdr. John Walker (O. J. Simpson)—have escaped into the desert and split up to maximise the chance that one will survive to expose the swindle. Narrational segments follow their individual progress as well as that of Caulfield’s investigation and of NASA director James Kelloway (Hal Holbrook)’s attempts to manage the crisis of the astronauts’ escape. It is evident that during the film’s post-production some reshuffling of these sequences was undertaken in order to maximise suspense. Further evidence that Ross’s book was based on an earlier screenplay than Goulart’s source emerges through its ending which, unlike Goulart’s, differs from the finished film. In every version of the story, Caulfield is able to rescue Brubaker and deliver him to his wife Kay (Brenda Vaccaro) in front of the watching media. Instead of doing so at a memorial service for the “dead” astronauts, however, Ross has this event take place at Bru’s home, after the service occurs without incident some pages earlier. This episode, more that any other in either book, is conspicuous in its variance from the film. Other discrepancies are based on addition, non-inclusion or reordering: different tellings of the same tale. Here, however, consumers of these texts are faced with two mutually exclusive finales that enforce a choice between the “right” and “wrong” version of the story. Enriching Character and Plot through Alternative Readings of the Script Although the examples above highlight some significant variations in the three versions of Capricorn One, none show evidence of intentional narrative difference. In some other respects, though, the authors of the novelisations did employ constituents of their own invention in order to transform the source material into the format expected by the readers of any novel. One key technique is shared by both authors. This is the fleshing-out of characters, a technique used more extensively by Ross than Goulart, and one which is largely responsible for his book’s greater length (an estimated 68,000 words, compared with Goulart’s 37,000). Goulart, for his part, largely confines this technique to the latter section of the story where the astronauts make their individual journeys across the desert. While his book is comprised, for the most part, of reported speech, the protagonists’ solitude in this part of the story leads him to recourse to descriptions of their thoughts in order to stretch out and enliven what would otherwise be an exceptionally brief and potentially dull account. Ross embraces the task of elaborating characterisation with considerably greater fervour. As well as representing their thoughts, he regularly adds passages of back story. During a breakfast scene before the launch (present in both books but absent from the finished film) he describes how each astronaut came to be involved in the mission and their feelings about it. Similarly he describes childhood or youthful incidents in their lives and in those of Kelloway and Caulfield in order to explain and add believability to some of their later actions. Even the biography and thoughts of relatively minor characters, such as the whistleblowing NASA employee Elliot Whitter (Robert Walden), are routinely developed. However, Ross does not stop here in elaborating the blueprint offered by the screenplay. New characters are added in order to develop a subplot glossed over in the film. These additions relate to an elderly European man, Mr. Julius, who is affiliated with a couple of Kelloway’s corporate accomplices and whose shady employees are responsible for both the attempts to assassinate Caulfield and for piloting the helicopters used to seek and destroy the escaped astronauts. In such ways, Ross succeeds in producing a rendition of the story that (barring its anomalous ending) enhances that of the film without conspicuously competing against what all the marketing points to as the “definitive” version. The Differing Narrational Capabilities of Films and Books While this section is indebted to the methods and findings of existing studies of novel-to-film adaptations, through close attention to the reverse process (or, more accurately, to screenplay-to-novel adaptations) we can observe another less recognised dynamic at work. This is the novelisers’ efforts to assimilate what are more traditionally cinematic devices into their writing. By way of illustration, our case study shows how it has led both Ross and Goulart to employ a writing style that sometimes contrasts with the norms of original mainstream novels. My comments thus far have dwelt mainly on differences in the placement and inclusion of narrative events, although the description of how the novelisers have expanded characters’ back stories suggests one way in which the written word can lend itself more readily to the concise interspersion of such material than can the film medium. This is not to say that film is incapable of rendering such incidents; merely that the representation of back story requires either lengthy spoken exposition or the insertion of flashbacks (some of which would require younger actors doubling for the stars). Either technique is prone to be more disruptive of the narrative flow, and therefore justifiable only in rarer instances where such information proves crucial, rather than merely useful, to the main narrative thrust. There are other ways, though, in which comparison of these three texts highlights the relative strengths of the different media in stimulating the response of their viewers or readers. One of these is the handling of audiovisual spectacle. It perhaps goes without saying that the film elicits a far more visceral response during its action scenes. This is especially true of a climactic sequence in which Caulfield and cropduster pilot Albain (Telly Savalas) do aerial battle with two helicopters as each strives to be the first to reach the fugitive Brubaker. Ross is far more successful than Goulart in conveying the excitement of this scene, although even his version pales in comparison with the movie. A device on which the film regularly draws, both in order to heighten tension and so as to suggest dramatic or ironic parallels between different narrative strands, is that of cross-cutting. This technique is adapted by each of the novelisers, who use it in a diluted form. Each of the books subdivides its chapters into many segments, which are often much shorter than those found in conventional novels. Ross uses ninety such segments and Goulart sixty-seven. The shortest of these, by Ross, is a solitary sentence sitting amidst a sea of white space, in which he signals the cancellation of the plan to reunite the astronauts with their shuttle at the projected splashdown site: “High over the Pacific Ocean, the Falcon jet went into a tight banking turn and began to head back the way it had come” (116). Neither author, however, has the audacity to cut between locations with the speed that the film does. One of the movie’s most effective sequences is that in which rapid edits alternate between Kelloway solemnly announcing the fictive death of the astronauts to the press and the astronauts sitting in their hideaway imagining this very eulogy. Neither one of the novelisations succeeds in creating a sequence quite so biting in its satire. In this case study we are able to observe some of the ways in which films and novelisations can relate to one another, each providing a reading of the film script (or scripts) that, through a mutual interlocking in the mind of the reader versed in these multiple versions of the tale, can contribute to an experience of the narrative that is richer than one text alone can produce. Robert Block, who has written both novelisations and original novels, alleges that “the usual rule seems to be that while films can widely and wildly deviate from previously-published-and-purchased novels, a novelisation cannot supersede a screenplay in terms of content” (Larson, 44). Whereas this assertion describes with reasonable accuracy the approach that Ron Goulart has taken to his version of Capricorn One, the more ambitious and detailed story told by Bernard Ross provides one clear exception to this rule. It thus offers firm evidence that novelisations are not, by their very nature, merely impoverished derivations of the cinema. Instead they constitute a medium capable of original and intrinsic value and which fully deserves more detailed critical appreciation than its current reputation suggests. References Coe, Jonathan. 9th and 13th. London: Penguin Books, 2005. Goulart, Ron. Capricorn One. New York: Fawcett Gold Medal, 1978. Hutcheon, Linda. A Theory of Adaptation. New York: Routledge, 2006. Larson, Randall D. Films into Books: An Analytical Bibliography of Film Novelizations, Movie, and TV Tie-Ins. London: Scarecrow Press, 1995. Ross, Bernard L. Capricorn One. London: Futura, 1978. Tasker, Yvonne, The Silence of the Lambs. London: BFI, 2002. Citation reference for this article MLA Style Allison, Deborah. "Film/Print: Novelisations and Capricorn One." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/07-allison.php>. APA Style Allison, D. (May 2007) "Film/Print: Novelisations and Capricorn One," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/07-allison.php>.

Periimplantite, realidade na Implantodontia: Qual a melhor conduta? Relato de caso. Adriana dos Santos Caetano, Vinícius Ferreira Bizelli, Paulo Vitor Ogliari, Edgard Franco Moraes JúniorCaracterização topográfica de implantes Ti-Cp com superfície usinada e modificada por laser. Ana Flávia Piquera Santos, Thallita P Queiroz, Antônio C Guastaldi, Gabriel M dos Santos, Laís Kawamata de Jesus, Ana Paula Farnezi Bassi, Idelmo Rangel Garcia Junior, Francisley Ávila de SouzaTratamento de fratura do complexo zigomático-orbitário através da fixação dos três pontos anatômicos do osso zigomático. André Hergesel de Oliva, Sormani Bento Fernandes de Queiroz, Valthierre Nunes de Lima, Gustavo Antonio Correa Momesso, João Paulo Bonardi, Fábio Roberto de Sousa Batista, Leonardo Perez Faverani, Osvaldo Magro FilhoO paciente pediátrico frente ao trauma bucomaxilofacial e sua etiologia na cidade de Araçatuba: um estudo retrospectivo. Cássio Messias Beija Flor Figueiredo, Izabela Soares Minari, Ana Paula Farnezi Bassi, Daniela Atili Brandini, Igor Mariotto Beneti, Francisley Ávila Souza, Idelmo Rangel Garcia JúniorManejo de fístula liquórica em fratura panfacial. Relato de caso. Estefânia Marrega Malavazi, Gabriel Mulinari dos Santos, João Paulo Bonardi, William Ricardo Pires, Ciro Borges Duailibe de Deus, Fábio Roberto de Souza Batista, André Hergesel de Oliva, Francisley Ávila SouzaEnxerto de tecido conjuntivo associado ao retalho deslocado lateralmente na estética periimplantar: relato de caso. Fred Lucas Pinto de Oliveira, Vivian Cristina Noronha Novaes, Breno Edson Sendão Alves, Nathália Januário de Araújo, David Jonathan Rodrigues Gusman, Daniela Pereira de Sá, Juliano Milanezi de AlmeidaIntubação submento-orotraqueal, aspectos anatômicos, principais indicações e descrição da técnica. Gabriel Pereira Nunes, Luis Fernando Azambuja Alcalde, Leandro Carlos Carrasco, Erik Neiva Ribeiro de Carvalho Reis, João Lopes Toledo Filho, Pedro Henrique Silva Gomes FerreiraUso dos antibióticos na cirurgia bucomaxilofacial. Revisão da literatura e relato de caso. Gabriela Caroline Fernandes, Gabriel Mulinari dos Santos, Mónica Johanna Palacio Muñoz, Leonardo de Freitas Silva, André Hergesel de Oliva, Leonardo Perez Faverani, Francisley Ávila Souza, Idelmo Rangel Garcia JúniorFraturas múltiplas em face e os acidentes de trânsito em Araçatuba. Izabela Soares Minari, Cássio Messias Beija Flor Figueiredo, Ana Paula Farnezi Bassi, Daniela Atili Brandini, Igor Mariotto Beneti , Daniela Ponzoni, Francisley Ávila Souza, Idelmo Rangel Garcia JúniorRemoção de raiz dentária impelida no seio maxilar com o uso de fibra ótica. Relato de caso . João Matheus Fonseca e Santos, Stefany Barbosa, Gustavo Antônio Correa Momesso, Tarik Ocon Braga Polo, Ana Paula Farnezi Bassi, Leonardo Perez FaveraniTrauma facial por acidente motociclístico: relato de caso. Lara Cristina Cunha Cervantes, Luara Teixeira Colombo, Gabriela Caroline Fernandes, João Paulo Bonardi, Leonardo de Freitas Silva, Erik Neiva Ribeiro de Carvalho Reis, Leonardo Perez FaveraniRemoção de tórus mandibular por indicação protética. Luana Sauvesuk, Luana Ribeiro do Vale, Daniela Ponzoni, Francisley Ávila Souza, Osvaldo Magro Filho, Alessandra Marcondes Aranega, Leonardo Perez Faverani, Ana Paula Farnezi BassiFratura do complexo zigomático orbitário: relato de caso. Luara Teixeira Colombo, Lara Cristina Cunha Cervantes, João Paulo Bonardi, Leonardo de Freitas Silva, Valthierre Nunes de Lima, Leonardo Perez FaveraniManipulação de tecido mole na implantodontia. Relato de caso. Natália de Campos, Edgard Franco Moraes JuniorGengivectomia, osteotomia e frenectomia na correção do sorriso gengival. Nathália Januario de Araujo, Álvaro Francisco Bosco, Vivian Cristina Noronha Novaes, Paula Lazilha Faleiros, David Jonathan Rodrigues Gusman, Fred Lucas Pinto de Oliveira, Breno Edson Sendão Alves, Juliano Milanezi de Almeida Avaliação do processo de incorporação óssea de biomaterial sintético a base de hidroxiapatita/β-tricálcio fosfato em bloco instalado em mandíbula de coelhos. Análise histológica. Rodrigo Capalbo-da-Silva, Luis Carlos de Almeida Pires, Paulo Sérgio Perri de Carvalho, Lais Kawamata de Jesus, Ana Flávia Piquera Santos, Francisley Ávila SouzaRelato de caso raro: fratura bilateral de côndilo e sínfise mandibular. Sara Tiemi Felipe Akabane, Gabriel Mulinari dos Santos, Erik Neiva Ribeiro de Carvalho Reis, William Ricardo Pires, Tárik Oncon Braga Polo, Leonardo Perez Faverani, Francisley Ávila Souza, Daniela PonzoniUso de piezocirúrgico para remoção de um odontoma mandibular complexo. Relato de caso clínico. Stefany Barbosa, João Matheus Fonseca e Santos, Cássio Messias Beija Flor Figueiredo, Gustavo Antonio Correa Momesso, Valthierre Nunes de Lima, Gabriel Mulinari dos Santos, Daniela Ponzoni, Leonardo Perez FaveraniReabilitação de maxila atrófica em paciente transplantado renal com implantes zigomáticos. Valthierre Nunes de Lima, Sormani Bento Fernandes de Queiroz, Jaqueline Suemi Hassumi, Nayla Caroline Santos Yamamoto, Karen Rawen Tonini, Leonardo de Freitas Silva, Tárik Ocon Braga Polo, Leonardo Perez FaveraniResolução de complicações estéticas com regeneração óssea guiada. Vinícius Ferreira Bizelli, Adriana dos Santos Caetano, Adriano Campesi Tonin, Edgard Franco Moraes JúniorReconstrução e reabilitação de mandibula atrófica após fratura iatrogênica. Adriana dos Santos Caetano, Vinícius Ferreira Bizelli, Paulo Vitor Ogliari, Edgard Franco Moraes JúniorFratura de complexo zigomáticomaxilar por prática esportiva – relato de caso. Dálete Samylle Ferreira Moraes, Gabriel Mulinari dos Santos, Erik Neiva Ribeiro de Carvalho Reis, Francisley Ávila Souza, Leonardo Perez Faverani, William Ricardo Pires, Osvaldo Magro Filho, Idelmo Rangel Garcia JúniorManejo de ferimento corto-contuso extenso em face: relato de caso. Elisa Mara de Abreu Furquim, Gabriel Mulinari dos Santos, Juliana Zórzi Coléte, Gabriel Ramalho Ferreira, Leonardo Perez Faverani, Idelmo Rangel Garcia JúniorManejo de ferimento contuso-contuso em região periorbitária: relato de caso clínico. Erika Kiyoko Chiba, Gabriel Mulinari dos Santos, João Paulo Bonardi, André Luís da Silva Fabris, Francisley Ávila Souza, Leonardo Perez Faverani, Ana Paula Farnezi Bassi, Idelmo Rangel Garcia JúniorMelhoria na qualidade de vida relacionada com saúde oral em pacientes com carcinomas oral e orofaringeano acompanhados por curto prazo após o tratamento. Fernanda Pereira de Caxias, Sandro Basso Bitencourt, Amália Moreno, Andressa Paschal Amoroso, Emerson Gomes dos Santos, Karina Helga Turcio de Carvalho, Marcelo Coelho Goiato, Daniela Micheline dos SantosFixação interna rígida do tipo Load Bearing para fratura mandibular atrófica. Gabriel Pereira Nunes, Pedro Henrique Silva Gomes Ferreira, Danila Oliveira, Luis Fernando Azambuja Alcalde, Jefferson Moura Vieira, Ana Paula Farnezi Bassi, Daniela Ponzoni, Roberta OkamotoTratamento inicial de ferimento corto-contuso em região peribucal: relato de caso. Gabriela Caroline Fernandes, Gabriel Mulinari dos Santos, Juliana Zorzi Coléte, Leonardo de Freitas Silva, André Hergesel de Oliva, Daniela Ponzoni, Alessandra Marcondes Aranega, Leonardo Perez FaveraniAvaliação do bio-oss collagen® no reparo de defeitos ósseos críticos em calvária de ratos. Guilherme André Del’Arco Ramires, Jucileia Maciel, Gustavo Antonio Correa Momesso, Leonardo Perez Faverani, Daniela Ponzoni, Ana Paula Farnezi BassiAvulsão dentária tratada por reimplante em paciente portadora de epilepsia. Iana Rodrigues Briggo, Willian Ricardo Pires, Xiomara Mónica Johanna Palacio Muñoz, Gabriel Mulinari dos Santos, Celso Koogi Sonoda, Sônia Regina Panzarini, Francisley Ávila Souza, Idelmo Rangel Garcia JúniorAvaliação do dano tecidual e do reparo causado por osteotomias para implantes com fresas convencionais e de motor piezoelétrico. Jadison Junio Conforte, Fabricio Euclides Pimentel Baracho Martins, Roberta Okamoto, Paulo Sérgio Perri de Carvalho, Daniela PonzoniTratamento de fratura nasal severa: relato de caso clínico. Karen Lumi Nakasato, Gabriel Mulinari dos Santos, William Ricardo Pires, Leonardo de Freitas Silva, Ciro Borges Duailibe de Deus, Gustavo Antônio Correa Momesso, Tárik Ocon Braga Polo, Leonardo Perez FaveraniEstudo da interface formada entre osso e implante de tiaiv com superfícies usinada e modificada. Avaliação biomecânica em coelhos. Laís Kawamata de Jesus, Rodrigo Capalbo-da-Silva, Ana Flávia Piquera Santos, Caroline Loureiro, Paulo Sérgio Perri de Carvalho, Ana Paula Farnezi Bassi, Alessandra Marcondes Aranega, Francisley Ávila SouzaRemoção de corpo estranho de lábio inferior com uso de intensificador de imagem: relato de caso. Lara Mariano Pinheiro, Gabriel Mulinari dos Santos, João Paulo Bonardi, André Luís da Silva Fabris, Juliana Zórzi Coléte, Igor de Oliveira Puttini, Ciro Borges Duailibe de Deus, Leonardo Perez Faverani.Avaliação da reparação óssea em defeitos críticos de calvária de ratos utilizando partículas de osso de origem bovina. Letícia de Freitas Mendes Brasil, Ana Paula Farnezi Bassi, Paulo Sérgio Perri de Carvalho, Daniela Ponzoni, Francisley Ávila Souza.Cranioplastia com resina de pometilmetacrilato em fratura extensa de osso frontal. Letícia de Oliveira Gonçalves, Xiomara Mónica Johanna Palacio Muñoz, João Paulo Bonardi, Leonardo de Freitas Silva, Erik Neiva Ribeiro de Carvalho Reis, Francisley Ávila Souza, Idelmo Rangel Garcia Júnior, Daniela PonzoniAssistência odontológica hospitalar para pessoas com deficiência do CAOE da faculdade de odontologia de Araçatuba. Luan Pier Benetti, Alessandra Marcondes Aranega, Fátima Hassan Baz Lauretto, Antônio Donizete Soares, Juliana Franco De Angelis, Tânia Sílvia Carneiro BaggioEstudo comparativo entre substituto ósseo heterógeno composto de origem bovina e biomaterial sintético a base de fosfato β-tricálcio para enxerto sinusal maxilar. Nathália Januario de Araujo, Maury Ponikwar de Souza, Paulo Sérgio Perri de Carvalho, Juliano Milanezi de Almeida, Idelmo Rangel Garcia Júnior, Francisley Ávila SouzaA difícil decisão por extrações dentárias como tratamento de mutilações labiais em pessoas com deficiência neurológica. Sandy Lais Tatibana, Alessandra Marcondes Aranega, André Luís da Silva Fabris, Liliane Passanezi A. Louzada, Regina Rodrigues Luciano, Idelmo Rangel Garcia Júnior, Luan Pier BenettiAvaliação histológica e histométrica do processo de reparo em defeitos de calvária de ratos com membrana de pcl e colágeno porcino. Tamires Melo Francati, Ana Carolina Rezende de Moraes Ferreira, Leonardo Perez Faverani, Guilherme André Del'Arco Ramires, Daniela Ponzoni, Ana Paula Farnezi BassiFratura de côndilo mandibular unilateral tratada com elasticoterapia: relato de caso. Thaisa Casteli Bonfim, Willian Ricardo Pires, Gabriel Mulinari dos Santos, Xiomara Mónica Johanna Palacio Muñoz, Celso Koogi Sonoda, Leonardo Perez Faverani, Francisley Ávila Souza, Idelmo Rangel Garcia Júnior

All critics declare not only their judgment of the work but also their claim to the right to talk about it and judge it. In short, they take part in a struggle for the monopoly of legitimate discourse about the work of art, and consequently in the production of the value of the work of art. (Pierre Bourdieu 36). As it becomes blindingly obvious that ‘cultural production’, including the cinema, now underpins an economy every bit as brutal in its nascent state as the Industrial Revolution was for its victims 200 years ago, both critique and cinephilia seem faded and useless to me. (Meaghan Morris 700). The music’s loud, the lights are low. I’m at a party and somebody’s shouting at me. “How many films do you see every week?” “Do you really get in for free?” “So what should I see next Saturday night?” These are the questions that shape the small talk of my life. After seven years of reviewing movies you’d think I’d have ready answers and sparkling rehearsed tip-offs to scatter at the slightest quiver of interest. And yet I feel anxious when I’m asked to predict some stranger’s enjoyment – their 15-odd bucks worth of dark velvet pleasure. Who am I to say what they’ll enjoy? Who am I to judge what’s worthwhile? As editor of the film pages of The Big Issue magazine (Australian edition), I make such value judgments every day, sifting through hundreds of press releases, invitations and interview offers. I choose just three films and three DVDs to be reviewed each fortnight, and one film to form the subject of a feature article or interview. The film pages are a very small part of an independent magazine that exists to provide an income for the homeless and long-term unemployed people who sell it on the streets of Melbourne, Sydney, Brisbane, Adelaide and Perth. And no, homeless people don’t go to the movies very often but our relatively educated and affluent city-dwelling readers do. The letters page of the magazine suggests that readers’ favourite pages are the Vendor Portraits – the extraordinary and sobering photographs and life stories of the people who are out there on the streets selling the magazine. Yet the editorial policy is to maintain a certain lightness of touch amidst the serious business. Thus, the entertainment pages (music, books, film, TV and humour) have no specific social justice agenda. But if there’s a new Australian film out there that deals with the topic of homelessness, it seems imperative to at least consider the story. Rather than offering in-depth analysis of particular films and the ways I go about judging them, the following diary excerpts instead offer a sketch of the practical process of editorial decision-making. Why review this film and not that one? Why interview this actor or that film director? And how do these choices fit within the broad goals of a social justice publication? Created randomly, from a quick scan of the last twelve months, the diary is a scribbled attempt to justify, or in Bourdieu’s terms, “legitimate” the critical role I play, and to try and explain how that role can never be fully defined by an aesthetic that is divorced from social and political realities. August 2004 My editor calls me and asks if I’ve seen Tom White, the new low-budget Australian film by Alkinos Tsilimidos. I have, and I hated it. Starring Colin Friels, the film follows the journey of a middle-aged middle-class man who walks out of his life and onto the streets. It’s a grimy, frustrating film, supported by only the barest bones of narrative. I was bored and infuriated by the central character, and I know it’s the kind of under-developed story that’s keeping Australian audiences away from our own films. And yet … it’s a local film that actually dares to tackle issues of homelessness and mental illness, and it’s a story that presents a truth about homelessness that’s borne out by many of our vendors: that any one of us could, except by the grace of God or luck, find ourselves sleeping rough. My editor wants me to interview Colin Friels, who will appear on the cover of the magazine. I don’t want to touch the film, and I prefer interviewing people whose work genuinely interests and excites me. But there are other factors to be considered. The film’s exhibitor, Palace Films, is offering to hold charity screenings for our benefit, and they are regular advertising supporters of The Big Issue. My editor, a passionate and informed film lover himself, understands the quandary. We are in no way beholden to Palace, he assures me, and we can tread the fine line with this film, using it to highlight the important issues at hand, without necessarily recommending the film to audiences. It’s tricky and uncomfortable; a simple example of the way in which political and aesthetic values do not always dance so gracefully together. Nevertheless, I find a way to write the story without dishonesty. September 2004 There’s no denying the pleasure of writing (or reading) a scathing film review that leaves you in stitches of laughter over the dismembered corpse of a bad movie. But when space is limited, I’d rather choose the best three films every fortnight for review and recommendation. In an ideal world I’d attend every preview and take my pick. They’d be an excitingly diverse mix. Say, one provocative documentary (maybe Mike Moore or Errol Morris), one big-budget event movie (from the likes of Scorsese or Tarantino), and one local or art-house gem. In the real world, it’s a scramble for deadlines. Time is short and some of the best films only screen in one or two states, making it impossible for us to cover them for our national audience. Nevertheless, we do our best to keep the mix as interesting and timely as possible. For our second edition this month I review the brilliant documentary Metallica: Some Kind of Monster (Joe Berlinger and Bruce Sinofsky), while I send other reviewers to rate Spielberg’s The Terminal (only one and a half stars out of five), and Cate Shortland’s captivating debut Australian feature Somersault (four stars). For the DVD review page we look at a boxed set of The Adventures of Tintin, together with the strange sombre drama House of Sand and Fog (Vadim Perelman), and the gripping documentary One Day in September (Kevin MacDonald) about the terrorist attacks at the 1972 Munich Olympic Games. As editor, I try to match up films with the writers who’ll best appreciate them. With a 200-word limit we know that we’re humble ‘reviewers’ rather than lofty ‘critics’, and that we can only offer the briefest subjective response to a work. Yet the goal remains to be entertaining and fair, and to try and evaluate films on their own terms. Is this particular movie an original and effective example of the schlocky teen horror thriller? If so, let’s give it the thumbs up. Is this ‘worthy’ anti-globalisation documentary just a boring preachy sermon with bad hand-held camera work? Then we say so. For our film feature article this edition, I write up an interview with Italian director Luigi Falorni, whose simple little film The Weeping Camel has been reducing audiences to tears. It’s a strange quiet film, a ‘narrative documentary’ set in the Gobi desert, about a mother camel that refuses to give milk to her newborn baby. There’s nothing political or radical about it. It’s just beautiful and interesting and odd. And that’s enough to make it worthy of attention. November 2004 When we choose to do a ‘celebrity’ cover, we find pretty people with serious minds and interesting causes. This month two gorgeous film stars, Natalie Portman and Gael Garcia Bernal find their way onto our covers. Portman’s promoting the quirky coming of age film, Garden State (Zach Braff), but the story we run focuses mainly on her status as ambassador for the Foundation of International Community Assistance (FINCA), which offers loans to deprived women to help them start their own businesses. Gabriel Garcia Bernal, the Mexican star of Walter Salle’s The Motorcycle Diaries appears on our cover and talks about his role as the young Che Guevara, the ultimate idealist and symbol of rebellion. We hope this appeals to those radicals who are prepared to stop in the street, speak to a homeless person, and shell out four dollars for an independent magazine – and also to all those shallow people who want to see more pictures of the hot-eyed Latin lad. April 2005 Three Dollars is Robert Connelly’s adaptation of Elliot Perlman’s best-selling novel about economic rationalism and its effect on an average Australian family. I loved the book, and the film isn’t bad either, despite some unevenness in the script and performances. I interview Frances O’Connor, who plays opposite David Wenham as his depressed underemployed wife. O’Connor makes a beautiful cover-girl, and talks about the seemingly universal experience of depression. We run the interview alongside one with Connelly, who knows just how to pitch his film to an audience interested in homelessness. He gives great quotes about John Howard’s heartless Australia, and the way we’ve become an economy rather than a society. It’s almost too easy. In the reviews section of the magazine we pan two other Australian films, Paul Cox’s Human Touch, and the Jimeoin comedy-vehicle The Extra. I’d rather ignore bad Australian films and focus on good films from elsewhere, or big-budget stinkers that need to be brought down a peg. But I’d lined up reviews for these local ones, expecting them to be good, and so we run with the negativity. Some films are practically critic-proof, but small niche films, like most Australian titles, aren’t among these Teflon giants. As Joel Pearlman, Managing Director of Roadshow Films has said, “There are certain types of films that are somewhat critic-proof. They’ve either got a built-in audience, are part of a successful franchise, like The Matrix or Bond films, or have a popular star. It’s films without the multimillion-dollar ad campaigns and the big names where critics are far more influential” ( Pearlman in Bolles 19). Sometimes I’m glad that I’m just a small fish in the film critic pond, and that my bad reviews can’t really destroy someone’s livelihood. It’s well known that a caning from reviewers like David Stratton and Margaret Pomeranz (ABC, At the Movies), or the Melbourne Age’s Jim Schembri can practically destroy the prospects of a small local film, and I’m not sure I have the bravery or conviction of the value of my own tastes to bear such responsibility. Admittedly, that’s just gutless tender-heartedness for, as reviewers, our responsibility is to the audience not to the filmmaker. But when you’ve met with cash-strapped filmmakers, and heard their stories and their struggles, it’s sometimes hard to put personal compassion aside and see the film as the punter will. But you must. August 2005 It’s a busy time with the Melbourne International Film Festival just finishing up. Hordes of film directors accompany their films to the festival, promoting them here ahead of a later national release schedule, and making themselves available for rare face-to face interviews. This year I find a bunch of goodies that seem like they were tailor-made for our readership. There are winning local films like Sarah Watt’s life-affirming debut Look Both Ways; and Rowan Woods’ gritty addiction-drama Little Fish. There’s my personal favourite, Bahman Ghobadi’s stunning and devastating Kurdish/Iranian feature Turtles Can Fly; and Avi Lewis’s inspiring documentary The Take, about Argentine factory workers who unite to revive their bankrupt workplaces. It’s when I see films like this, and get to talk to the people who bring them into existence, that I realize how much I value writing about films for a publication that doesn’t exist just to make a profit or fill space between advertisements. As the great American critic Jonathan Rosenbaum has eloquently argued, most of the worldwide media coverage concerning film is merely a variation on the ‘corporate stories’ that film studios feed us as part of their advertising. To be able to provide some small resistance to that juggernaut is a wonderful privilege. I love to be lost in the dark, studying films frame by frame, and with reference only to some magical internal universe of ‘cinema’ and its endless references to itself. But as the real world outside falls apart, such airless cinephilia feels just plain wrong. As a writer whose subject is films, what I’m compelled to do is to come out of the cinema and try to use my words to convey the best of what I’ve seen to my friends and readers, pointing them towards small treasures they may have overlooked amidst the hype. So maybe I’m not a ‘pure’ critic, and maybe there’s no shame in that. The films I’ll gravitate towards share an almost indefinable quality – to use Jauss’s phrase, they reconstruct and expand my “horizon of expectation” (28). Sometimes these films are overtly committed to a cause, but often they’re just beautiful and strange and fresh. Always they expand me, open me, make me feel that there’s more to the world than expected, and make me want more too – more information, more freedom, more compassion, more equality, more beauty. And, after all these years in the dark, I still want more films like that. Endnotes As of August 2005, the role of DVD editor of The Big Issue has been filled by Anthony Morris. According the latest Morgan Poll, readers of The Big Issue are likely to be young (18-39), urban, educated, and affluent professionals. Current readership is estimated at 144,000 fortnightly and growing. References Bolles, Scott. “The Critics.” Sunday Life. The Age 10 Jul. 2005: 19. Bourdieu, Pierre. The Field of Cultural Production: Essays on Art and Literature. Ed. Randal Johnson. Cambridge: Polity Press, 1993. Jauss, Hans Robert. Toward an Aesthetic of Reception. Trans. Timothy Bahti. Minnesota: U of Minnesota P, 1982. Morris, Meaghan. “On Going to Bed Early: Once Upon a Time in America.” Meanjin 4 (1998): 700. Rosenbaum, Jonathan. “Junket Bonds.” Chicago Reader Movie Review (2000). 2 Sept. 2005 http://www.chicagoreader.com/movies/archives/2000/1000/00117.html>. The Big Issue Australia. http://www.bigissue.org.au/> 10 Oct. 2005. Citation reference for this article MLA Style Siemienowicz, Rochelle. "Diary of a Film Reviewer: Intimate Reflections on Writing about the Screen for a Popular Audience." M/C Journal 8.5 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0510/01-siemienowicz.php>. APA Style Siemienowicz, R. (Oct. 2005) "Diary of a Film Reviewer: Intimate Reflections on Writing about the Screen for a Popular Audience," M/C Journal, 8(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0510/01-siemienowicz.php>.

Introduction 2021 was the year that NFTs got big—not just in value but also in terms of the cultural consciousness. When digital artist Beeple sold the portfolio of his 5,000 daily images at Christie’s for US$69 million, the art world was left intrigued, confused, and outraged in equal measure. Depending on who you asked, non-fungible tokens (NFTs) seemed to be either a quick cash-grab or the future of the art market (Bowden and Jones; Smee). Following the Beeple sale, articles started to appear indicating that the film industry was abuzz for NFTs. Independent filmmaker Kevin Smith was quick to announce that he planned to release his horror film Killroy Was Here as an NFT (Alexander); in September 2021 the James Bond film No Time to Die also unveiled a series of collectibles to coincide with the film’s much-delayed theatrical release (Natalee); the distribution and collectible platforms Vuele, NFT Studios, and Mogul Productions all emerged, and the industry rumour mill suggests more start-ups are en route (CurrencyWorks; NFT Studios; NewsBTC). Blockchain disciples say that the technology will solve all the problems of the Internet (Tewari; Norton; European Business Review); critics say it will only perpetuate existing accessibility and equality issues (Davis and Flatow; Klein). Those more circumspect will doubtless sit back until the dust settles, waiting to see what parts of so-called web3 will be genuinely integrated into the architecture of the Internet. Pamela Hutchinson puts it neatly in terms of the arts sector: “the NFT may revolutionise the art market, film funding and distribution. Or it might be an ecological disaster and a financial bubble, in which few actual movies change hands, and fraudsters get rich from other people’s intellectual property” (Hutchinson). There is an uptick in the literature around NFTs and blockchain (see Quiniou; Gayvoronskaya & Meinel); however, the technology remains unregulated and unstandardised (Yeung 212-14; Dimitropoulos 112-13). Similarly, the sheer amount of funding being put into fundamental technical, data, and security-related issues speaks volumes to the nascency of the space (Ossinger; Livni; Gayvoronskaya & Meinel 52-6). Put very briefly, NFTs are part of a given blockchain system; think of them, like cryptocurrency coins, as “units of value” within that system (Roose). NFTs were initially rolled out on Ethereum, though several other blockchains have now implemented their own NFT frameworks. NFTs are usually not the artwork itself, but rather a unique, un-copyable (hence, non-fungible) piece of code that is attached, linked, or connected to another digital file, be that an image, video, text, or something else entirely. NFTs are often referred to as a digital artwork’s “certificate of authenticity” (Roose). At the time of writing, it remains to be seen how widely blockchain and NFT technology will be implemented across the entertainment industries. However, this article aims to outline the current state of implementation in the film trade specifically, and to attempt to sort true potential from the hype. Beginning with an overview of the core issues around blockchain and NFTs as they apply to film properties and adjacent products, current implementations of the technology are outlined, before finishing with a hesitant glimpse into the potential future applications. The Issues and Conversation At the core of current conversations around blockchain are three topics: intellectual property and ownership, concentrations of power and control, and environmental impact. To this I would like to add a consideration of social capital, which I begin with briefly here. Both the film industry and “crypto” — if we take the latter to encompass the various facets of so-called ‘web3’ — are engines of social capital. In the case of cinema, its products are commodified and passed through a model that begins with exclusivity (theatrical release) before progressing to mass availability (home media, streaming). The cinematic object, i.e., an individual copy of a film, is, by virtue of its origins as a mass product of the twentieth century, fungible. The film is captured, copied, stored, distributed, and shared. The film-industrial model has always relied on social phenomena, word of mouth, critical discourse, and latterly on buzz across digital social media platforms. This is perhaps as distinct from fine art, where — at least for dealers — the content of the piece does not necessarily matter so much as verification of ownership and provenance. Similarly, web3, with its decentralised and often-anonymised processes, relies on a kind of social activity, or at least a recorded interaction wherein the chain is stamped and each iteration is updated across the system. Even without the current hype, web3 still relies a great deal on discourse, sharing, and community, particularly as it flattens the existing hierarchies of the Internet that linger from Web 2.0. In terms of NFTs, blockchain systems attach scarcity and uniqueness to digital objects. For now, that scarcity and uniqueness is resulting in financial value, though as Jonathan Beller argues the notion of value could — or perhaps should — be reconsidered as blockchain technology, and especially cryptocurrencies, evolve (Beller 217). Regardless, NFT advocates maintain that this is the future of all online activity. To questions of copyright, the structures of blockchain do permit some level of certainty around where a given piece of intellectual property emerged. This is particularly useful where there are transnational differences in recognition of copyright law, such as in France, for instance (Quiniou 112-13). The Berne Convention stipulates that “the subsistence of copyright does not rest on the compliance with formal requirements: rights will exist if the work meets the requirements for protection set out by national law and treaties” (Guadamuz 1373). However, there are still no legal structures underpinning even the most transparent of transactions, when an originator goes out of their way to transfer rights to the buyer of the accompanying NFT. The minimum requirement — even courtesy — for the assignment of rights is the identification of the work itself; as Guadamuz notes, this is tricky for NFTs as they are written in code (1374). The blockchain’s openness and transparency are its key benefits, but until the code can explicitly include (or concretely and permanently reference) the ‘content’ of an NFT, its utility as a system of ownership is questionable. Decentralisation, too, is raised consistently as a key positive characteristic of blockchain technology. Despite the energy required for this decentralisation (addressed shortly), it is true that, at least in its base code, blockchain is a technology with no centralised source of truth or verification. Instead, such verification is performed by every node on the chain. On the surface, for the film industry, this might mean modes of financing, rights management, and distribution chains that are not beholden to multinational media conglomerates, streamers like Netflix, niche intermediaries, or legacy studios. The result here would be a flattening of the terrain: breaking down studio and corporate gatekeeping in favour of a more democratised creative landscape. Creators and creative teams would work peer-to-peer, paying, contracting, servicing, and distribution via the blockchain, with iron-clad, publicly accessible tracking of transactions and ownership. The alternative, though, is that the same imbalances persist, just in a different form: this is outlined in the next section. As Hunter Vaughan writes, the film industry’s environmental impact has long been under-examined. Its practices are diverse, distributed, and hard to quantify. Cinematic images, Vaughan writes, “do not come from nothing, and they do not vanish into the air: they have always been generated by the earth and sun, by fossil fuels and chemical reactions, and our enjoyment of them has material consequences” (3). We believe that by watching a “green” film like Avatar we are doing good, but it implicates us in the dirty secret, an issue of “ignorance and of voluntary psychosis” where “we do not see who we are harming or how these practices are affecting the environment, and we routinely agree to accept the virtual as real” (5). Beyond questions of implication and eco-material conceptualisation, however, there are stark facts. In the 1920s, the Kodak Park Plant in New York drew 12 million gallons of water from Lake Ontario each day to produce film stock. As the twentieth century came to a close, this amount — for a single film plant — had grown to 35-53 million gallons per day. The waste water was perfunctorily “cleaned” and then dumped into surrounding rivers (72-3). This was just one plant, and one part of the filmmaking process. With the shift to digital, this cost might now be calculated in the extraction of precious metals used to make contemporary cameras, computers, or storage devices. Regardless, extrapolate outwards to a global film industry and one quickly realises the impact is almost beyond comprehension. Considering — let alone calculating — the carbon footprint of blockchain requires outlining some fundamentals of the technology. The two primary architectures of blockchain are Proof of Work (PoW) and Proof of Stake (PoS), both of which denote methods of adding and verifying new blocks to a chain. PoW was the first model, employed by Bitcoin and the first iteration of Ethereum. In a PoW model, each new block has a specific cryptographic hash. To confirm the new block, crypto miners use their systems to generate a target hash that is less than or equal to that of the block. The systems process these calculations quickly, as the goal is to be “the first miner with the target hash because that miner is the one who can update the blockchain and receive crypto rewards” (Daly). The race for block confirmation necessitates huge amounts of processing power to make these quick calculations. The PoS model differs in that miners are replaced by validators (or staking services where participants pool validation power). Rather than investing in computer power, validators invest in the blockchain’s coins, staking those coins (tokens) in a smart contract (think of this contract like a bank account or vault). When a new block is proposed, an algorithm chooses a validator based on the size of their stake; if the block is verified, the validator receives further cryptocurrency as a reward (Castor). Given the ubiquity and exponential growth of blockchain technology and its users, an accurate quantification of its carbon footprint is difficult. For some precedent, though, one might consider the impact of the Bitcoin blockchain, which runs on a PoW model. As the New York Times so succinctly puts it: “the process of creating Bitcoin to spend or trade consumes around 91 terawatt-hours of electricity annually, more than is used by Finland, a nation of about 5.5 million” (Huang, O’Neill and Tabuchi). The current Ethereum system (at time of writing), where the majority of NFT transactions take place, also runs on PoW, and it is estimated that a single Ethereum transaction is equivalent to nearly nine days of power consumption by an average US household (Digiconomist). Ethereum always intended to operate on a PoS system, and the transition to this new model is currently underway (Castor). Proof of Stake transactions use significantly less energy — the new Ethereum will supposedly be approximately 2,000 times more energy efficient (Beekhuizen). However, newer systems such as Solana have been explicit about their efficiency goals, stating that a single Solana transaction uses less energy (1,837 Joules, to be precise) than keeping an LED light on for one hour (36,000 J); one Ethereum transaction, for comparison, uses over 692 million J (Solana). In addition to energy usage, however, there is also the question of e-waste as a result of mining and general blockchain operations which, at the time of writing, for Bitcoin sits at around 32 kilotons per year, around the same as the consumer IT wastage of the Netherlands (de Vries and Stoll). How the growth in NFT awareness and adoption amplifies this impact remains to be seen, but depending on which blockchain they use, they may be wasting energy and resources by design. If using a PoW model, the more valuable the cryptocurrency used to make the purchase, the more energy (“gas”) required to authenticate the purchase across the chain. Images abound online of jerry-rigged crypto data centres of varying quality (see also efficiency and safety). With each NFT minted, sold, or traded, these centres draw — and thus waste, for gas — more and more energy. With increased public attention and scrutiny, cryptocurrencies are slowly realising that things could be better. As sustainable alternatives become more desirable and mainstream, it is safe to predict that many NFT marketplaces may migrate to Cardano, Solana, or other more efficient blockchain bases. For now, though, this article considers the existing implementations of NFTs and blockchain technology within the film industry. Current Implementations The current applications of NFTs in film centre around financing and distribution. In terms of the former, NFTs are saleable items that can raise capital for production, distribution, or marketing. As previously mentioned, director Kevin Smith launched Jay & Silent Bob’s Crypto Studio in order to finish and release Killroy Was Here. Smith released over 600 limited edition tokens, including one of the film itself (Moore). In October 2021, renowned Hong Kong director Wong Kar-wai sold an NFT with unreleased footage from his film In the Mood for Love at Sotheby’s for US$550,000 (Raybaud). Quentin Tarantino entered the arena in January 2022, auctioning uncut scenes from his 1994 film Pulp Fiction, despite the threat of legal action from the film’s original distributor Miramax (Dailey). In Australia, an early adopter of the technology is director Michael Beets, who works in virtual production and immersive experiences. His immersive 14-minute VR film Nezunoban (2020) was split into seven different chapters, and each chapter was sold as an NFT. Beets also works with artists to develop entry tickets that are their own piece of generative art; with these tickets and the chapters selling for hundreds of dollars at a time, Beets seems to have achieved the impossible: turning a profit on a short film (Fletcher). Another Australian writer-producer, Samuel Wilson, now based in Canada, suggests that the technology does encourage filmmakers to think differently about what they create: At the moment, I’m making NFTs from extra footage of my feature film Miles Away, which will be released early next year. In one way, it’s like a new age of behind-the-scenes/bonus features. I have 14 hours of DV tapes that I’m cutting into a short film which I will then sell in chapters over the coming months. One chapter will feature the dashing KJ Apa (Songbird, Riverdale) without his shirt on. So, hopefully that can turn some heads. (Wilson, in Fletcher) In addition to individual directors, a number of startup companies are also seeking to get in on the action. One of these is Vuele, which is best understood as a blockchain-based streaming service: an NFT Netflix, if you like. In addition to films themselves, the service will offer extra content as NFTs, including “behind the scenes content, bonus features, exclusive Q&As, and memorabilia” (CurrencyWorks). Vuele’s launch title is Zero Contact, directed by Rick Dugdale and starring Anthony Hopkins. The film is marketed as “the World’s First NFT Feature Film” (as at the time of writing, though, both Vuele and its flagship film have yet to launch). Also launching is NFT Studios, a blockchain-based production company that distributes the executive producer role to those buying into the project. NFT Studios is a decentralised administrative organisation (DAO), guided by tech experts, producers, and film industry intermediaries. NFT Studios is launching with A Wing and a Prayer, a biopic of aeronaut Brian Milton (NFT Studios), and will announce their full slate across festivals in 2022. In Australia, Culture Vault states that its aim is to demystify crypto and champion Australian artists’ rights and access to the space. Co-founder and CEO Michelle Grey is well aware of the aforementioned current social capital of NFTs, but is also acutely aware of the space’s opacity and the ubiquity of often machine-generated tat. “The early NFT space was in its infancy, there was a lot of crap around, but don’t forget there’s a lot of garbage in the traditional art world too,” she says (cited in Miller). Grey and her company effectively act like art dealers; intermediaries between the tech and art worlds. These new companies claim to be adhering to the principles of web3, often selling themselves as collectives, DAOs, or distributed administrative systems. But the entrenched tendencies of the film industry — particularly the persistent Hollywood system — are not so easily broken down. Vuele is a joint venture between CurrencyWorks and Enderby Entertainment. The former is a financial technology company setting up blockchain systems for businesses, including the establishment of branded digital currencies such as the controversial FreedomCoin (Memoria); the latter, Enderby, is a production company founded by Canadian film producer (and former investor relations expert in the oil and uranium sectors) Rick Dugdale (Wiesner). Similarly, NFT Studios is partnered with consulting and marketing agencies and blockchain venture capitalists (NFT Investments PLC). Depending on how charitable or cynical one is feeling, these start-ups are either helpful intermediaries to facilitate legacy media moving into NFT technology, or the first bricks in the capitalist wall to bar access for entry to other players. The Future Is… Buffering Marketplaces like Mintable, OpenSea, and Rarible do indeed make the minting and selling of NFTs fairly straightforward — if you’ve ever listed an item for sale on eBay or Facebook, you can probably mint an NFT. Despite this, the current major barrier for average punters to the NFT space remains technical knowledge. The principles of blockchain remain fairly opaque — even this author, who has been on a deep dive for this article, remains sceptical that widespread adoption across multiple applications and industries is feasible. Even so, as Rennie notes, “the unknown is not what blockchain technology is, or even what it is for (there are countless ‘use cases’), but how it structures the actions of those who use it” (235). At the time of writing, a great many commentators and a small handful of scholars are speculating about the role of the metaverse in the creative space. If the endgame of the metaverse is realised, i.e., a virtual, interactive space where users can interact, trade, and consume entertainment, the role of creators, dealers, distributors, and other brokers and players will be up-ended, and have to re-settle once again. Film industry practitioners might look to the games space to see what the road might look like, but then again, in an industry that is — at its best — somewhat resistant to change, this may simply be a fad that blows over. Blockchain’s current employment as a get-rich-quick mechanism for the algorithmic literati and as a computational extension of existing power structures suggests nothing more than another techno-bubble primed to burst (Patrickson 591-2; Klein). Despite the aspirational commentary surrounding distributed administrative systems and organisations, the current implementations are restricted, for now, to startups like NFT Studios. In terms of cinema, it does remain to be seen whether the deployment of NFTs will move beyond a kind of “Netflix with tchotchkes” model, or a variant of crowdfunding with perks. Once Vuele and NFT Studios launch properly, we may have a sense of how this all will play out, particularly alongside less corporate-driven, more artistically-minded initiatives like that of Michael Beets and Culture Vault. It is possible, too, that blockchain technology may streamline the mechanics of the industry in terms of automating or simplifying parts of the production process, particularly around contracts, financing, licensing. This would obviously remove some of the associated labour and fees, but would also de-couple long-established parts and personnel of the industry — would Hollywood and similar industrial-entertainment complexes let this happen? As with any of the many revolutions that have threatened to kill or resurrect the (allegedly) long-suffering cinematic object, we just have to wait, and watch. References Alexander, Bryan. “Kevin Smith Reveals Why He’s Auctioning Off New His Film ‘Killroy Was Here’ as an NFT.” USA TODAY, 15 Apr. 2021. <https://www.usatoday.com/story/entertainment/movies/2021/04/15/kevin-smith-auctioning-new-film-nft-killroy-here/7244602002/>. Beekhuizen, Carl. “Ethereum’s Energy Usage Will Soon Decrease by ~99.95%.” Ethereum Foundation Blog, 18 May 2021. <https://blog.ethereum.org/2021/05/18/country-power-no-more/>. Beller, Jonathan. “Economic Media: Crypto and the Myth of Total Liquidity.” Australian Humanities Review 66 (2020): 215-225. Beller, Jonathan. The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle. Hanover, NH: Dartmouth College P, 2006. 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Introduction The trope of food is often used in the humanities to discuss aspects of a culture that are customarily overlooked by a textualist approach, for food embodies a kind of knowledge that comes from the direct engagement with materials and processes, and involves taste as an aesthetics that exceeds the visual concept of the “beautiful.” Moreover, cooking is one of the most ancient cultural practices, and is considered the habit that defines us as humans in comparison to other animals—not only culturally, but also physiologically (Wrangham). Today we have entered a post-human age in which technological augmentations, while promoting the erasure of embodiment in favour of intelligence (Hayles), create new assemblages between the organic and the digital, thus redefining what it means to be human. In this context, a reassessment of the practice of cooking as the manipulation of what constitutes food—both for thought and for the body—may promote a more nuanced approach to contemporary culture, in which the agency of the non-human (from synthetic materials to the digital) affects our modes of being and reflects on our aesthetic sensibility. In the 1980s, Guy Debord observed that the food industry's standardisation and automation of methods of production and consumption have anaesthetised the consumer palate with broader political and cultural implications. Today the Internet has extended the intertwinement of food and technology to the social and aesthetic spheres, thus further impacting on taste. For instance, cultural trends such as “foodism” and “slow food” thrive on blogs and social networks and, while promoting an artisanal style in food preparation and presentation, they paradoxically may also homogenise cooking techniques and the experience of sharing a meal. This leads to questions regarding the extent to which the digitalisation of culture might be hindering our capacity to taste. Or, given the new possibilities for connectivity, can this digitalisation also foster an aesthetic sensibility associated with different attitudes and approaches to food—one that transgresses both the grand narratives and the standardisation promoted by such gastronomic fashions? It also leads to the question of how such activities reflect on the collective sphere, considering the contagious character of networked communication. While foodism thrives online, the Internet has nevertheless prompted a renewed interest in DIY (do-it-yourself) cooking techniques. As a recent issue of M/C Journal testifies, today cookbooks are produced and consulted at an unprecedented rate—either in print or online (Brien and Wessell). Taking the example of the online diffusion of DIY cheese-making recipes, I will below trace the connections between cooking, computer culture, and taste with the support of Gilbert Simondon's metaphysics of technics. Although Simondon never extensively discussed food in relation to technology, the positioning of technicity at the heart of culture allows his work to be used to address the multifaceted nature of taste in the light of recent technological development, in particular of the Network. As a matter of fact, today cooking is not only a technical activity, in the sense that it requires a certain practical and theoretical skilfulness—it is also a technological matter, for the amount of networked machines that are increasingly used for food production and marketing. Specifically, this paper argues that by disentangling the human—albeit partially—from the capitalist cycle of production-marketing-consumption and by triggering an awareness of the increasingly dominant role technology plays in food processing and manufacturing, the online sharing of home-cooking advice may promote a reconfiguration of taste, which would translate into a more nuanced approach to contemporary techno-culture. In the first part of this discussion, I introduce Simondon’s philosophy and foreground the technical dimension of cooking by discussing cheese-making as a process of individuation. In the second, I focus on Simondon’s definition of technical objects and technical ensembles to position Internet culture in relation to cooking, and highlight how technicity folds back on taste as aesthetic impression. Ultimately, I conclude with some reflections on how such a culinary-aesthetic approach may find application in other techno-cultural fields by promoting an aesthetic sensibility that extends beyond the experience of the “social” to encompass an ethical component. Cooking as Individuation: The Networked Dimension of Taste Simondon is known as the thinker, and “tinkerer”, of technics. His project is concerned with ontogenesis—that is, the becoming of objects in relation to the terms that constitute them as individual. Simondon’s philosophy of individuation allows for a better understanding of how the Internet fosters certain attitudes to food, for it is grounded on a notion of “energetic materiality in movement” (Deleuze and Guattari 408) that explains how “immaterial” algorithms can affect individual experience and cultural production. For Simondon, individuation is the process that arises from objects being out-of-phase with themselves. Put differently, individuation allows for “the conservation of being through becoming” (Genesis 301). Likewise, individualisation is “the individuation of an individuated being, resulting from an individuation, [and creating] a new structuration within the individual” (L’Individuation 132). Individuation and individualisation are processes common to all kinds of being. Any individual operates an internal and an external resonance within the system in which it is enmeshed, and produces an “associated milieu” capable of entering into relation with other individuals within the system. Simondon maintains that nature consists of three regimes of individuation, that is, three possible phases of every being: the physical, the biological, and the psycho-social—that develop from a metastable pre-individual field. Technology traverses all three regimes and allows for further individualisation via transductive operations across such phases—that is, via operations of conversion of energy from one form to another. The recent online diffusion of DIY cheese-making recipes lends itself to be analysed with the support of Simondon’s philosophy. Today cheese dominates degustation menus beside the finest wines, and constitutes a common obsession among “foodies.” Although, as an object, cheese defies more traditional canons of beauty and pleasure—its usual pale yellow colour is not especially inviting and, generally speaking, the stinkier and mouldier it is, the more exclusive and expensive it usually is—it has played a sizeable role in the collective imagination since ancient times. Although the genesis of cheese predates archival memory, it is commonly assumed to be the fruit of the chemical reaction naturally occurring in the interaction of milk with the rennet inherently contained in the bladders made of ruminants’ stomachs in which milk was contained during the long transits undertaken by the nomadic cultures of Central Asia. Cheese is an invention that reportedly occurred without human intervention, and only the technical need to preserve milk in high temperature impelled humans to learn to produce it. Since World War II its production is most exclusively factory-based, even in the case of artisanal cheese (McGee), which makes the renewed concern for homemade cheese more significant from a techno-cultural perspective. Following Simondon, the individualisation of cheese—and of people in relation to cheese—depends on the different objects involved in its production, and whose associated milieu affects the outcome of the ontogenetic process via transductive operations. In the specific case of an industrial block of cheese, these may include: the more or less ethical breeding and milking of cows in a factory environment; the types of bacteria involved in the cheese-making process; the energy and costs inherent in the fabrication of the packaging material and the packaging process itself; the CO2 emissions caused by transportations; the physical and intellectual labour implied in marketing, retailing and selling; and, last but not least, the arguable nutritional value of the factory-produced cheese—all of which, in spite of their “invisibility” to the eyes of the consumer, affect physical conditions and moods when they enter into relation with the human body (Bennet). To these, we may add, with specific reference to the packaging: the RFID tags that electronically index food items into databases for a more efficient management of supplies, and the QR codes used for social media marketing purposes. In contrast, the direct engagement with the techno-material conditions at the basis of the home cookery process allows one to grasp how different operations may affect the outcome of the recipe. DIY cheese-making recipes are specifically addressed to laypeople and, because they hardly demand professional equipment, they entail a greater attunement with, and to, the objects and processes required by the recipe. For instance, one needs to “feel” when milk has reached the right temperature (specifically, 82 degrees centigrade, which means that the surface of the milk should be slightly bubbly but not fully boiling) and, with practice, one learns how the slightest movement of the hand can lead to different results, in terms of consistency and aspect. Ultimately, DIY cheese-making allows the cook to be creative with moulding, seasonings, and marinading. Indeed, by directly engaging with the undiscovered properties and potentials of ingredients, by understanding the role that energy (both in the sense of induction and “transduction”) plays on form and matter, and by developing—often via processes of trial and error—technics for stirring, draining, moulding, marinading, canning, and so forth, making cheese at home an exercise in speculative pragmatics. An experimental approach to cooking, as the negotiation between the rigid axioms that make up a recipe and the creative and experimental components inherent in the operations of mixing and blending, allows one to feel the ultimate outcome of the cooking process as an event. The taste of a homemade cheese is linked to a new kind of knowledge—that is, an epistemology based on continuous breakages that allow for the cooking process to carry on until the ultimate result. It is a knowledge that comes from a commitment to objects being out-of-phase, and from the acknowledgement of the network of technical operations that bring cheese to our tables. The following section discusses how another kind of object may affect the outcome of a recipe, with important implications for aesthetics, that is, technical objects. The Internet as Ingredient: Technical Objects, Aesthetics, and Invention The notion of technical objects complements Simondon’s theory of individuation to define the becoming of technology in relation to culture. To Simondon: “the technical object is not this or that thing, given hic et nunc, but that of which there is a genesis” (Du Mode 20). Technical objects, therefore, are not simply technological artifacts but are constituted by a series of events that determine their evolution (De Vries). Analogously to other kinds of individuals, they are constituted by transductive operations across the three aforementioned phases of being. The evolution of technical objects extends from the element to the individual, and ultimately to the technical ensemble. Elements are less than individualised technical objects, while individuals that are in a relation of interconnection are called ensembles. According to Simondon, technical ensembles fully individualise with the realisation of the cybernetic project. Simondon observes that: “there is something eternal in a technical ensemble [...] and it is that which is always present, and can be conserved in a thing” (Les Cahiers 87). The Internet, as a thing-network, could be regarded as an instance of such technical ensembles, however, a clarification needs to be made. Simondon explains that “true technical ensembles are not those that use technical individuals, but those that are a network of technical individuals in a relation of interconnection” (Du mode 126). To Simondon, humankind has ceased to be a technical individual with the industrialisation and automation of methods of production, and has consigned this function to machines (128). Expanding this line of thought, examples such as the viral spreading of memes, and the hypnotic power of online marketing campaigns, demonstrate how digital technology seems to have intensified this process of alienation of people from the functioning of the machine. In short, no one seems to know how or why things happen on the Internet, but we cannot help but use it. In order to constitute “real” technical ensembles, we need to incorporate technics again into culture, in a relation of reciprocity and complementarity with machines, under the aegis of a technical culture. Simondon specifies that such a reconfiguration of the relation between man and machines can only be achieved by means of an invention. An invention entails the individualisation of the technical ensemble as a departure from the mind of the inventor or designer that conceived it, in order to acquire its own autonomous existence (“Technical Mentality”). It refers to the origin of an operative solidarity between individual agents in a network, which provides the support for a human relation based on the “model of transidividuality” (Du Mode 247). A “transindividual relation” is a relation of relations that puts the individual in direct contact with a real collective. The notion of real collective is opposed to that of an interindividual community or social sphere, which is poisoned by the anxieties that stem from a defected relation with the technical ensemble culture is embedded in. In the specific context of the online sharing of DIY cheese-making recipes, rather than a fully individualised technical ensemble per se, the Internet can be regarded as one of the ingredients that make up the final recipe—together with human and the food—for the invention of a true technical ensemble. In such a framework, praxis, as linked to the kind of non-verbal knowledge associated with “making,” defines individuation together with the types of objects that make up the Network. While in the case of foodism, the practice of online marketing and communication homogenises culture by creating “social phenomena,” in the case of DIY cooking advice, it fosters a diversification of tastes, experiences, and flavours linked to individual modes of doing and cooking, that put the cook in a new relation with the culinary process, with food, and with the guests who have the pleasure to taste her meal. This is a qualitative change in the network that constitutes culture, rather than a mere quantitative shift in energy induction. The term “conviviality” (from the Latin con-vivere) specifically means this: a “living together,” rather than a mere dinner party. For Simondon, a real technical ensemble is an assemblage of humans, machines, tools, resources and milieus, which can only be éprouve—i.e., experienced, also in the sense of “experimented with”—rather than represented. A technical ensemble is first and foremost an aesthetic affair—it can only be perceived by experimenting with the different agents involved in the networked operations that constitute it. For Simondon “aesthetics comes after technicity [and] it also returns to us in the heart of technicity” (Michaud in De Boever et al. 122). Therefore, any object bears an aesthetic potential—even something as trivial as a homemade block of cheese. Simondon rejects the idea of an aesthetic object, but affirms the power of technicity to foreground an aesthetic impression, which operates a convergence between the diverging forces that constitute the mediation between man and world, in terms of an ethical treatment of technics. For Simondon, the beautiful is a process: “it is never, properly speaking, the object that is beautiful: it is the encounter operating a propos of the object between a real aspect of the world and a human gesture” (Du Mode 191 emphasis added). If an analysis of cooking as individuation already foregrounds an aesthetics that is both networked and technical, the relational capabilities afforded by networked media have the power to amplify the aesthetic potential of the human gesture implied in a block of homemade cheese—which today extends from searching for (or writing) a recipe online, to pouring the milk and seasoning the cheese, and which entails less environmental waste due to the less intensive processing and the lack of, or certainly a reduction in, packaging materials (Rastogi). The praise of technical creativity resounds throughout Simondon’s thought. By using the Internet in order to create (or indeed cook) something new, the online sharing of DIY cooking techniques like cheese-making, which partially disengages the human (and food itself) from the cycle of production-marketing-consumption that characterises the food industry in capitalist society by fostering an awareness of the networked operations that constitute her as individual, is an invention in its own right. Although the impact of these DIY activities on the global food industry is still very limited, such a hands-on approach, imbued with a dose of technical creativity, partially overcomes the alienation of the individual from the production process, by providing the conditions to “feel” how the individualisation of cheese (and the human) is inscribed in a larger metabolism. This does not stop within the economy of the body but encompasses the techno-cultural ensemble that forms capitalist society as a whole, and in which humans play only a small part. This may be considered a first step towards the reconciliation between humans and technical culture—a true technical ensemble. Indeed, eating involves “experiments in art and technology”—as the name of the infamous 1960s art collective (E.A.T.) evokes. Home-cooking in this sense is a technical-aesthetic experiment in its own right, in which aesthetics acquires an ethical nuance. Simondon’s philosophy highlights how the aesthetics involved in the home cooking process entails a political component, aimed at the disentanglement of the human from the “false” technical ensemble constituted by capitalist society, which is founded on the alienation from the production process and is driven by economic interests. Surely, an ethical approach to food would entail considering the biopolitics of the guts from the perspective of sourcing materials, and perhaps even building one’s own tools. These days, however, keeping a cow or goat in the backyard is unconceivable and/or impossible for most of us. The point is that the Internet can foster inventiveness and creativity among the participants to the Network, in spite of the fixity of the frame in which culture is increasingly inscribed (for instance, the standardised format of a Wordpress blog), and in this way, can trigger an aesthetic impression that comprises an ethical component, which translates into a political stand against the syncopated, schizophrenic rhythms of the market. Conclusion In this discussion, I have demonstrated that cooking can be considered a process of individuation inscribed in a techno-cultural network in which different transductive operations have the power to affect the final taste of a recipe. Simondon’s theory of individuation allows us to account for the impact of ubiquitous networked media on traditionally considered “human” practices, thus suggesting a new kind of humanism—a sort of technological humanism—on the basis of a new model of perception, which acknowledges the non-human actants involved in the process of individuation. I have shown that, in the case of the online sharing of cheese-making recipes, Simondon’s philosophy allows us to uncover a concept of taste that extends beyond the mere gustatory experience provided by foodism, and in this sense it may indeed affirm a reconfiguration of human culture based on an ethical approach towards the technical ensemble that envelops individuals of any kind—be they physical, living, or technical. Analogously, a “culinary” approach to techno-culture in terms of a commitment to the ontogenetic character of objects’ behaviours could be transposed to the digital realm in order to enlighten new perspectives for the speculative design of occasions of interaction among different beings—including humans—in ethico-aesthetic terms, based on a creative, experimental engagement with techniques and technologies. As a result, this can foreground a taste for life and culture that exceeds human-centred egotistic pleasure to encompass both technology and nature. Considering that a worryingly high percentage of digital natives both in Australia and the UK today believe that cheese and yogurt grow on trees (Howden; Wylie), perhaps cooking should indeed be taught in school alongside (rather than separate to, or instead of) programming. References Bennet, Jane. Vibrant Matter: a Political Ecology of Things. Durham: Duke UP, 2010 Brien, Donna Lee, and Adele Wessell. “Cookbook: A New Scholarly View.” M/C Journal 16.3 (2013). 7 Jan. 2014. ‹http://journal.media-culture.org.au/index.php/mcjournal/article/viewArticle/688›. Crary, Jonathan, and Sanford Kwinter. Incorporations. New York: Zone, 1992. De Boever, Arne, Alex Murray, Jon Roffe, and Ashley Woodward, eds. Gilbert Simondon: Being and Technology. Edinburgh: Edinburgh UP, 2012. De Vries, Marc. “Gilbert Simondon and the Dual Nature of Technical Artifacts.” Techné: Research in Philosophy and Technology 12.1 (2008). Debord, Guy. “Abat-Faim.” Encyclopedie des Nuisances 5 (1985) 2 Jan. 2014. ‹http://www.notbored.org/abat-faim.html›. Deleuze, Gilles and Felix Guattari. A Thousand Plateaus. London: Continuum, 2004. Hayles, N. Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: The University of Chicago Press, 1999. Howden, Saffron. “Cultural Cringe: Schoolchildren Can’t See the Yoghurt for the Trees.” The Sydney Morning Herald 5 Mar. 2012. 5 Jan. 2014. ‹http://www.smh.com.au/national/education/cultural-cringe-schoolchildren-cant-see-the-yoghurt-for-the-trees-20120304-1ub55.html›. McGee, Harold. On Food and Cooking: The Science and Lore of the Kitchen. New York: Scribner, 2004. Michaud, Yves. “The Aesthetics of Gilbert Simondon: Anticipation of the Contemporary Aesthetic Experience.” Gilbert Simondon: Being and Technology. Eds. Arne De Boever, Alex Murray, Jon Roffe, and Ashley Woodward. Edinburgh: Edinburgh UP, 2012. 121–32. Rastogi, Nina. “Soft Cheese for a Clean Planet”. Slate 15 Dec. 2009. 25 Jan. 2014. ‹http://www.slate.com/articles/health_and_science/the_green_lantern/2009/12/soft_cheese_for_a_clean_planet.html›. Simondon, Gilbert. Du Mode d’Existence des Objets Techniques. Paris: Aubier, 2001. ---. L’Individuation a La Lumière Des Notions de Forme et d’Information. Grenoble: Millon, 2005. ---. “Les Cahiers du Centre Culturel Canadien” 4, 2ème Colloque Sur La Mécanologie. Paris, 1976. ---. “Technical Mentality.” Parrhesia 7 (2009): 17–27.---. “The Genesis of the Individual.” Incorporations. Eds. Jonathan Crary, and Sanford Kwinter. New York: Zone, 1992. 296–319. Wrangham, Richard. “Reason in the Roasting of Eggs.” Collapse: Philosophical Research and Development Volume VII. Eds. Reza Negarestani, and Robin Mackay. London: Urbanomic, 2011. 331–44. Wylie, Catherine. “Significant Number of Children Believe Cheese Comes from Plants, Reveals New Survey.” The Independent 3 Jun. 2013. 5 Jan. 2014. ‹http://www.independent.co.uk/news/uk/home-news/significant-number-of-children-believe-cheese-comes-from-plants-reveals-new-survey-8641771.html›.

1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the memory is remarkably vivid. As the event is also still remarkable; this comment remaining the only remark ever made to me by a stranger about anything I have been reading during three decades of travelling on public transport. That inflamed commuter summed up much of the furore that greeted the publication of American Psycho. More than this, and unusually, condemnation of the work both actually preceded, and affected, its publication. Although Ellis had been paid a substantial U.S. $300,000 advance by Simon & Schuster, pre-publication stories based on circulating galley proofs were so negative—offering assessments of the book as: ‘moronic … pointless … themeless … worthless (Rosenblatt 3), ‘superficial’, ‘a tapeworm narrative’ (Sheppard 100) and ‘vile … pornography, not literature … immoral, but also artless’ (Miner 43)—that the publisher cancelled the contract (forfeiting the advance) only months before the scheduled release date. CEO of Simon & Schuster, Richard E. Snyder, explained: ‘it was an error of judgement to put our name on a book of such questionable taste’ (quoted in McDowell, “Vintage” 13). American Psycho was, instead, published by Random House/Knopf in March 1991 under its prestige paperback imprint, Vintage Contemporary (Zaller; Freccero 48) – Sonny Mehta having signed the book to Random House some two days after Simon & Schuster withdrew from its agreement with Ellis. While many commented on the fact that Ellis was paid two substantial advances, it was rarely noted that Random House was a more prestigious publisher than Simon & Schuster (Iannone 52). After its release, American Psycho was almost universally vilified and denigrated by the American critical establishment. The work was criticised on both moral and aesthetic/literary/artistic grounds; that is, in terms of both what Ellis wrote and how he wrote it. Critics found it ‘meaningless’ (Lehmann-Haupt C18), ‘abysmally written … schlock’ (Kennedy 427), ‘repulsive, a bloodbath serving no purpose save that of morbidity, titillation and sensation … pure trash, as scummy and mean as anything it depicts, a dirty book by a dirty writer’ (Yardley B1) and ‘garbage’ (Gurley Brown 21). Mark Archer found that ‘the attempt to confuse style with content is callow’ (31), while Naomi Wolf wrote that: ‘overall, reading American Psycho holds the same fascination as watching a maladjusted 11-year-old draw on his desk’ (34). John Leo’s assessment sums up the passionate intensity of those critical of the work: ‘totally hateful … violent junk … no discernible plot, no believable characterization, no sensibility at work that comes anywhere close to making art out of all the blood and torture … Ellis displays little feel for narration, words, grammar or the rhythm of language’ (23). These reviews, as those printed pre-publication, were titled in similarly unequivocal language: ‘A Revolting Development’ (Sheppard 100), ‘Marketing Cynicism and Vulgarity’ (Leo 23), ‘Designer Porn’ (Manguel 46) and ‘Essence of Trash’ (Yardley B1). Perhaps the most unambiguous in its message was Roger Rosenblatt’s ‘Snuff this Book!’ (3). Of all works published in the U.S.A. at that time, including those clearly carrying X ratings, the Los Angeles chapter of the National Organization for Women (NOW) selected American Psycho for special notice, stating that the book ‘legitimizes inhuman and savage violence masquerading as sexuality’ (NOW 114). Judging the book ‘the most misogynistic communication’ the organisation had ever encountered (NOW L.A. chapter president, Tammy Bruce, quoted in Kennedy 427) and, on the grounds that ‘violence against women in any form is no longer socially acceptable’ (McDowell, “NOW” C17), NOW called for a boycott of the entire Random House catalogue for the remainder of 1991. Naomi Wolf agreed, calling the novel ‘a violation not of obscenity standards, but of women’s civil rights, insofar as it results in conditioning male sexual response to female suffering or degradation’ (34). Later, the boycott was narrowed to Knopf and Vintage titles (Love 46), but also extended to all of the many products, companies, corporations, firms and brand names that are a feature of Ellis’s novel (Kauffman, “American” 41). There were other unexpected responses such as the Walt Disney Corporation barring Ellis from the opening of Euro Disney (Tyrnauer 101), although Ellis had already been driven from public view after receiving a number of death threats and did not undertake a book tour (Kennedy 427). Despite this, the book received significant publicity courtesy of the controversy and, although several national bookstore chains and numerous booksellers around the world refused to sell the book, more than 100,000 copies were sold in the U.S.A. in the fortnight after publication (Dwyer 55). Even this success had an unprecedented effect: when American Psycho became a bestseller, The New York Times announced that it would be removing the title from its bestseller lists because of the book’s content. In the days following publication in the U.S.A., Canadian customs announced that it was considering whether to allow the local arm of Random House to, first, import American Psycho for sale in Canada and, then, publish it in Canada (Kirchhoff, “Psycho” C1). Two weeks later, when the book was passed for sale (Kirchhoff, “Customs” C1), demonstrators protested the entrance of a shipment of the book. In May, the Canadian Defence Force made headlines when it withdrew copies of the book from the library shelves of a navy base in Halifax (Canadian Press C1). Also in May 1991, the Australian Office of Film and Literature Classification (OFLC), the federal agency that administers the classification scheme for all films, computer games and ‘submittable’ publications (including books) that are sold, hired or exhibited in Australia, announced that it had classified American Psycho as ‘Category 1 Restricted’ (W. Fraser, “Book” 5), to be sold sealed, to only those over 18 years of age. This was the first such classification of a mainstream literary work since the rating scheme was introduced (Graham), and the first time a work of literature had been restricted for sale since Philip Roth’s Portnoy’s Complaint in 1969. The chief censor, John Dickie, said the OFLC could not justify refusing the book classification (and essentially banning the work), and while ‘as a satire on yuppies it has a lot going for it’, personally he found the book ‘distasteful’ (quoted in W. Fraser, “Sensitive” 5). Moreover, while this ‘R’ classification was, and remains, a national classification, Australian States and Territories have their own sale and distribution regulation systems. Under this regime, American Psycho remains banned from sale in Queensland, as are all other books in this classification category (Vnuk). These various reactions led to a flood of articles published in the U.S.A., Canada, Australia and the U.K., voicing passionate opinions on a range of issues including free speech and censorship, the corporate control of artistic thought and practice, and cynicism on the part of authors and their publishers about what works might attract publicity and (therefore) sell in large numbers (see, for instance, Hitchens 7; Irving 1). The relationship between violence in society and its representation in the media was a common theme, with only a few commentators (including Norman Mailer in a high profile Vanity Fair article) suggesting that, instead of inciting violence, the media largely reflected, and commented upon, societal violence. Elayne Rapping, an academic in the field of Communications, proposed that the media did actively glorify violence, but only because there was a market for such representations: ‘We, as a society love violence, thrive on violence as the very basis of our social stability, our ideological belief system … The problem, after all, is not media violence but real violence’ (36, 38). Many more commentators, however, agreed with NOW, Wolf and others and charged Ellis’s work with encouraging, and even instigating, violent acts, and especially those against women, calling American Psycho ‘a kind of advertising for violence against women’ (anthropologist Elliot Leyton quoted in Dwyer 55) and, even, a ‘how-to manual on the torture and dismemberment of women’ (Leo 23). Support for the book was difficult to find in the flood of vitriol directed against it, but a small number wrote in Ellis’s defence. Sonny Mehta, himself the target of death threats for acquiring the book for Random House, stood by this assessment, and was widely quoted in his belief that American Psycho was ‘a serious book by a serious writer’ and that Ellis was ‘remarkably talented’ (Knight-Ridder L10). Publishing director of Pan Macmillan Australia, James Fraser, defended his decision to release American Psycho on the grounds that the book told important truths about society, arguing: ‘A publisher’s office is a clearing house for ideas … the real issue for community debate [is] – to what extent does it want to hear the truth about itself, about individuals within the community and about the governments the community elects. If we care about the preservation of standards, there is none higher than this. Gore Vidal was among the very few who stated outright that he liked the book, finding it ‘really rather inspired … a wonderfully comic novel’ (quoted in Tyrnauer 73). Fay Weldon agreed, judging the book as ‘brilliant’, and focusing on the importance of Ellis’s message: ‘Bret Easton Ellis is a very good writer. He gets us to a ‘T’. And we can’t stand it. It’s our problem, not his. American Psycho is a beautifully controlled, careful, important novel that revolves around its own nasty bits’ (C1). Since 1991 As unlikely as this now seems, I first read American Psycho without any awareness of the controversy raging around its publication. I had read Ellis’s earlier works, Less than Zero (1985) and The Rules of Attraction (1987) and, with my energies fully engaged elsewhere, cannot now even remember how I acquired the book. Since that angry remark on the bus, however, I have followed American Psycho’s infamy and how it has remained in the public eye over the last decade and a half. Australian OFLC decisions can be reviewed and reversed – as when Pasolini’s final film Salo (1975), which was banned in Australia from the time of its release in 1975 until it was un-banned in 1993, was then banned again in 1998 – however, American Psycho’s initial classification has remained unchanged. In July 2006, I purchased a new paperback copy in rural New South Wales. It was shrink-wrapped in plastic and labelled: ‘R. Category One. Not available to persons under 18 years. Restricted’. While exact sales figures are difficult to ascertain, by working with U.S.A., U.K. and Australian figures, this copy was, I estimate, one of some 1.5 to 1.6 million sold since publication. In the U.S.A., backlist sales remain very strong, with some 22,000 copies sold annually (Holt and Abbott), while lifetime sales in the U.K. are just under 720,000 over five paperback editions. Sales in Australia are currently estimated by Pan MacMillan to total some 100,000, with a new printing of 5,000 copies recently ordered in Australia on the strength of the book being featured on the inaugural Australian Broadcasting Commission’s First Tuesday Book Club national television program (2006). Predictably, the controversy around the publication of American Psycho is regularly revisited by those reviewing Ellis’s subsequent works. A major article in Vanity Fair on Ellis’s next book, The Informers (1994), opened with a graphic description of the death threats Ellis received upon the publication of American Psycho (Tyrnauer 70) and then outlined the controversy in detail (70-71). Those writing about Ellis’s two most recent novels, Glamorama (1999) and Lunar Park (2005), have shared this narrative strategy, which also forms at least part of the frame of every interview article. American Psycho also, again predictably, became a major topic of discussion in relation to the contracting, making and then release of the eponymous film in 2000 as, for example, in Linda S. Kauffman’s extensive and considered review of the film, which spent the first third discussing the history of the book’s publication (“American” 41-45). Playing with this interest, Ellis continues his practice of reusing characters in subsequent works. Thus, American Psycho’s Patrick Bateman, who first appeared in The Rules of Attraction as the elder brother of the main character, Sean – who, in turn, makes a brief appearance in American Psycho – also turns up in Glamorama with ‘strange stains’ on his Armani suit lapels, and again in Lunar Park. The book also continues to be regularly cited in discussions of censorship (see, for example, Dubin; Freccero) and has been included in a number of university-level courses about banned books. In these varied contexts, literary, cultural and other critics have also continued to disagree about the book’s impact upon readers, with some persisting in reading the novel as a pornographic incitement to violence. When Wade Frankum killed seven people in Sydney, many suggested a link between these murders and his consumption of X-rated videos, pornographic magazines and American Psycho (see, for example, Manne 11), although others argued against this (Wark 11). Prosecutors in the trial of Canadian murderer Paul Bernardo argued that American Psycho provided a ‘blueprint’ for Bernardo’s crimes (Canadian Press A5). Others have read Ellis’s work more positively, as for instance when Sonia Baelo Allué compares American Psycho favourably with Thomas Harris’s The Silence of the Lambs (1988) – arguing that Harris not only depicts more degrading treatment of women, but also makes Hannibal Lecter, his antihero monster, sexily attractive (7-24). Linda S. Kauffman posits that American Psycho is part of an ‘anti-aesthetic’ movement in art, whereby works that are revoltingly ugly and/or grotesque function to confront the repressed fears and desires of the audience and explore issues of identity and subjectivity (Bad Girls), while Patrick W. Shaw includes American Psycho in his work, The Modern American Novel of Violence because, in his opinion, the violence Ellis depicts is not gratuitous. Lost, however, in much of this often-impassioned debate and dialogue is the book itself – and what Ellis actually wrote. 21-years-old when Less than Zero was published, Ellis was still only 26 when American Psycho was released and his youth presented an obvious target. In 1991, Terry Teachout found ‘no moment in American Psycho where Bret Easton Ellis, who claims to be a serious artist, exhibits the workings of an adult moral imagination’ (45, 46), Brad Miner that it was ‘puerile – the very antithesis of good writing’ (43) and Carol Iannone that ‘the inclusion of the now famous offensive scenes reveals a staggering aesthetic and moral immaturity’ (54). Pagan Kennedy also ‘blamed’ the entire work on this immaturity, suggesting that instead of possessing a developed artistic sensibility, Ellis was reacting to (and, ironically, writing for the approval of) critics who had lauded the documentary realism of his violent and nihilistic teenage characters in Less than Zero, but then panned his less sensational story of campus life in The Rules of Attraction (427-428). Yet, in my opinion, there is not only a clear and coherent aesthetic vision driving Ellis’s oeuvre but, moreover, a profoundly moral imagination at work as well. This was my view upon first reading American Psycho, and part of the reason I was so shocked by that charge of filth on the bus. Once familiar with the controversy, I found this view shared by only a minority of commentators. Writing in the New Statesman & Society, Elizabeth J. Young asked: ‘Where have these people been? … Books of pornographic violence are nothing new … American Psycho outrages no contemporary taboos. Psychotic killers are everywhere’ (24). I was similarly aware that such murderers not only existed in reality, but also in many widely accessed works of literature and film – to the point where a few years later Joyce Carol Oates could suggest that the serial killer was an icon of popular culture (233). While a popular topic for writers of crime fiction and true crime narratives in both print and on film, a number of ‘serious’ literary writers – including Truman Capote, Norman Mailer, Kate Millet, Margaret Atwood and Oates herself – have also written about serial killers, and even crossed over into the widely acknowledged as ‘low-brow’ true crime genre. Many of these works (both popular or more literary) are vivid and powerful and have, as American Psycho, taken a strong moral position towards their subject matter. Moreover, many books and films have far more disturbing content than American Psycho, yet have caused no such uproar (Young and Caveney 120). By now, the plot of American Psycho is well known, although the structure of the book, noted by Weldon above (C1), is rarely analysed or even commented upon. First person narrator, Patrick Bateman, a young, handsome stockbroker and stereotypical 1980s yuppie, is also a serial killer. The book is largely, and innovatively, structured around this seeming incompatibility – challenging readers’ expectations that such a depraved criminal can be a wealthy white professional – while vividly contrasting the banal, and meticulously detailed, emptiness of Bateman’s life as a New York über-consumer with the scenes where he humiliates, rapes, tortures, murders, mutilates, dismembers and cannibalises his victims. Although only comprising some 16 out of 399 pages in my Picador edition, these violent scenes are extreme and certainly make the work as a whole disgustingly confronting. But that is the entire point of Ellis’s work. Bateman’s violence is rendered so explicitly because its principal role in the novel is to be inescapably horrific. As noted by Baelo Allué, there is no shift in tone between the most banally described detail and the description of violence (17): ‘I’ve situated the body in front of the new Toshiba television set and in the VCR is an old tape and appearing on the screen is the last girl I filmed. I’m wearing a Joseph Abboud suit, a tie by Paul Stuart, shoes by J. Crew, a vest by someone Italian and I’m kneeling on the floor beside a corpse, eating the girl’s brain, gobbling it down, spreading Grey Poupon over hunks of the pink, fleshy meat’ (Ellis 328). In complete opposition to how pornography functions, Ellis leaves no room for the possible enjoyment of such a scene. Instead of revelling in the ‘spine chilling’ pleasures of classic horror narratives, there is only the real horror of imagining such an act. The effect, as Kauffman has observed is, rather than arousing, often so disgusting as to be emetic (Bad Girls 249). Ellis was surprised that his detractors did not understand that he was trying to be shocking, not offensive (Love 49), or that his overall aim was to symbolise ‘how desensitised our culture has become towards violence’ (quoted in Dwyer 55). Ellis was also understandably frustrated with readings that conflated not only the contents of the book and their meaning, but also the narrator and author: ‘The acts described in the book are truly, indisputably vile. The book itself is not. Patrick Bateman is a monster. I am not’ (quoted in Love 49). Like Fay Weldon, Norman Mailer understood that American Psycho posited ‘that the eighties were spiritually disgusting and the author’s presentation is the crystallization of such horror’ (129). Unlike Weldon, however, Mailer shied away from defending the novel by judging Ellis not accomplished enough a writer to achieve his ‘monstrous’ aims (182), failing because he did not situate Bateman within a moral universe, that is, ‘by having a murderer with enough inner life for us to comprehend him’ (182). Yet, the morality of Ellis’s project is evident. By viewing the world through the lens of a psychotic killer who, in many ways, personifies the American Dream – wealthy, powerful, intelligent, handsome, energetic and successful – and, yet, who gains no pleasure, satisfaction, coherent identity or sense of life’s meaning from his endless, selfish consumption, Ellis exposes the emptiness of both that world and that dream. As Bateman himself explains: ‘Surface, surface, surface was all that anyone found meaning in. This was civilisation as I saw it, colossal and jagged’ (Ellis 375). Ellis thus situates the responsibility for Bateman’s violence not in his individual moral vacuity, but in the barren values of the society that has shaped him – a selfish society that, in Ellis’s opinion, refused to address the most important issues of the day: corporate greed, mindless consumerism, poverty, homelessness and the prevalence of violent crime. Instead of pornographic, therefore, American Psycho is a profoundly political text: Ellis was never attempting to glorify or incite violence against anyone, but rather to expose the effects of apathy to these broad social problems, including the very kinds of violence the most vocal critics feared the book would engender. Fifteen years after the publication of American Psycho, although our societies are apparently growing in overall prosperity, the gap between rich and poor also continues to grow, more are permanently homeless, violence – whether domestic, random or institutionally-sanctioned – escalates, and yet general apathy has intensified to the point where even the ‘ethics’ of torture as government policy can be posited as a subject for rational debate. The real filth of the saga of American Psycho is, thus, how Ellis’s message was wilfully ignored. While critics and public intellectuals discussed the work at length in almost every prominent publication available, few attempted to think in any depth about what Ellis actually wrote about, or to use their powerful positions to raise any serious debate about the concerns he voiced. Some recent critical reappraisals have begun to appreciate how American Psycho is an ‘ethical denunciation, where the reader cannot but face the real horror behind the serial killer phenomenon’ (Baelo Allué 8), but Ellis, I believe, goes further, exposing the truly filthy causes that underlie the existence of such seemingly ‘senseless’ murder. But, Wait, There’s More It is ironic that American Psycho has, itself, generated a mini-industry of products. A decade after publication, a Canadian team – filmmaker Mary Harron, director of I Shot Andy Warhol (1996), working with scriptwriter, Guinevere Turner, and Vancouver-based Lions Gate Entertainment – adapted the book for a major film (Johnson). Starring Christian Bale, Chloë Sevigny, Willem Dafoe and Reese Witherspoon and, with an estimated budget of U.S.$8 million, the film made U.S.$15 million at the American box office. The soundtrack was released for the film’s opening, with video and DVDs to follow and the ‘Killer Collector’s Edition’ DVD – closed-captioned, in widescreen with surround sound – released in June 2005. Amazon.com lists four movie posters (including a Japanese language version) and, most unexpected of all, a series of film tie-in action dolls. The two most popular of these, judging by E-Bay, are the ‘Cult Classics Series 1: Patrick Bateman’ figure which, attired in a smart suit, comes with essential accoutrements of walkman with headphones, briefcase, Wall Street Journal, video tape and recorder, knife, cleaver, axe, nail gun, severed hand and a display base; and the 18” tall ‘motion activated sound’ edition – a larger version of the same doll with fewer accessories, but which plays sound bites from the movie. Thanks to Stephen Harris and Suzie Gibson (UNE) for stimulating conversations about this book, Stephen Harris for information about the recent Australian reprint of American Psycho and Mark Seebeck (Pan Macmillan) for sales information. References Archer, Mark. “The Funeral Baked Meats.” The Spectator 27 April 1991: 31. Australian Broadcasting Corporation. First Tuesday Book Club. First broadcast 1 August 2006. Baelo Allué, Sonia. “The Aesthetics of Serial Killing: Working against Ethics in The Silence of the Lambs (1988) and American Psycho (1991).” Atlantis 24.2 (Dec. 2002): 7-24. Canadian Press. “Navy Yanks American Psycho.” The Globe and Mail 17 May 1991: C1. Canadian Press. “Gruesome Novel Was Bedside Reading.” Kitchener-Waterloo Record 1 Sep. 1995: A5. Dubin, Steven C. “Art’s Enemies: Censors to the Right of Me, Censors to the Left of Me.” Journal of Aesthetic Education 28.4 (Winter 1994): 44-54. 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Yardley, Jonathan. “American Psycho: Essence of Trash.” The Washington Post 27 Feb. 1991: B1. Young, Elizabeth J. “Psycho Killers. Last Lines: How to Shock the English.” New Statesman & Society 5 April 1991: 24. Young, Elizabeth J., and Graham Caveney. Shopping in Space: Essays on American ‘Blank Generation’ Fiction. London: Serpent’s Tail, 1992. Zaller, Robert “American Psycho, American Censorship and the Dahmer Case.” Revue Francaise d’Etudes Americaines 16.56 (1993): 317-25. Citation reference for this article MLA Style Brien, Donna Lee. "The Real Filth in : A Critical Reassessment." M/C Journal 9.5 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0610/01-brien.php>. APA Style Brien, D. (Nov. 2006) "The Real Filth in American Psycho: A Critical Reassessment," M/C Journal, 9(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0610/01-brien.php>.