Journal articles on the topic 'Journalism – Style manuals'

Current commentary on non-manual employment suggests that we are moving into an era of ‘contingent careers’ where current performance is the only valid criterion for reward and advancement. New-style jobs may be intensive and insecure, it is argued, but they are also less freighted with gender-based assumptions. Newspaper journalism, with its lack of bureaucratic organization, varied tasks, tradition of high employee mobility, and deep-seated belief in meritocracy would seem to fit well within this model. Interviews with women working in the UK regional press indicate, however, that the occupation is less egalitarian that many in the industry believe. Newspaper organisations and status hierarchies continue to be built around ‘hard news’, despite the commercial importance of other elements of content. Consequently management experience in newsgathering is a key stage in promotion, but this work as currently structured is incompatible with primary domestic responsibility for dependants. Even those without such concerns, or with limited ambitions, find the intensified work règime in today's regional press hard to sustain. Considering why these working practices have remained largely unchallenged, the paper identifies five contributing factors. The epistemological individualism characteristic of women and well as men in journalism, a culture of vocation, the construction of editorial power as charismatic rather than bureaucratic, the commonsense populist style of most regional papers and, not least, journalists’ own entrenched belief in the contingent nature of their employment combine to make the profession particularly resistant to acknowledging structural barriers to advancement.

This study examined the internal headings of theses and research articles in applied linguistics. Headings collected from 110 theses and headings selected from 500 research articles underwent quantitative and qualitative analyses. The goal was to investigate possible differences between the heading writing styles adopted by the writers of each genre in focus. Analyses revealed the higher incidence of functional headings in both genres, particularly in research articles. Virtually, all functional and conventional syntactic options used in headings testified to be significantly different. Moreover, deployment of functional headings evidenced to act as a gatekeeper alternative that might have enhanced the publication chance of research articles in prestigious ISI-indexed journals. The study provides assistance for the writers of style guide manuals and syllabus designers in paving the way for novice writers to gain recognition in academia as professionals. Keywords: applied linguistics, conventional heading, functional heading, research article, thesis

Daniel Defoe, one of the pioneers of the English novel, primarily earned his living as a journalist, pamphleteer, proposal writer, and freelance business consultant. A born entrepreneur, Defoe's many projects included promoting and marketing the first practical diving bell, designing commercial fisheries and improving London's sewer system, producing a series of popular self-help manuals, and founding and editing the first English technical writing journal, The Projector. These were the products of Defoe's indefatigable pen, and the utilitarian simplicity of his business and technical writing has strongly influenced English prose ever since. This article will examine two major pieces of Defoe's professional writing: An Essay of Projects, (1698) a portfolio of his best proposals, and the landmark The Complete English Tradesman (1725), the first English business writing manual. These and similar texts would form the loam of Defoe's great novels, Robinson Crusoe (1719), Moll Flanders (1721), and A Journal of a Plague Year (1722). While Defoe's professional writing shaped his creative writing, his gifts as a novelist—his plain, demotic style, his knack for concise narrative and analytical summary, his ability to create convincing personas through textual documentation—shaped his business writing. Both forms of writing made him the premier spokesperson of a new social and economic order.

The students’ satisfaction and expectations are a tool to re-invent and improve student publication. The goals of this quantitative research are to discover the degree of satisfaction and the extent of preferences of the students of The Wheelhouse publication; hence, it utilized descriptive, correlational, and comparative methods to reveal the expectations of 270 student-readers. Results revealed that the students are satisfied with their school paper while they prefer the three journalistic styles. In terms of sex, the results showed that there is a significant difference between the male and the female. However, there is no significant difference when they are compared according to course. Finally, in the variable year level, there is a significant difference revealed in the technicalities among the second-year students. The outcome of this study was used as a guide in the composition of a campus journalism manual and a publishable dummy of a magazine.

Portuguese academic discourse of the humanities is notoriously difficult to render into English, given the prevalence of rhetorical and discourse features that are largely alien to English academic style. The aim of this study was to test the hypothesis that some of those features might find their way into the English texts produced by Portuguese scholars through a process of pragmalinguistic and sociopragmatic transfer. If so, this would have important practical and ideological implications, not only for the academics concerned, but also for editors, revisers, teachers of EAP, translators, writers of academic style manuals and all the other gatekeepers of the globalized culture. The study involved a corpus of some 113,000 running words of English academic prose written by established Portuguese academics in the Humanities, which had been presented to a native speaker of English (professional translator and specialist in academic discourse) for revision prior to submission for publication. After correction of superficial grammatical and spelling errors, the texts were made into a corpus, which was tagged for Part of Speech (CLAWS7) and discourse markers (USAS) using WMatrix2 (Rayson 2003). The annotated corpus was then interrogated for the presence of certain discourse features using Wmatrix2 and Wordsmith 5 (Scott 1999), and the findings compared with those of a control corpus, Controlit, of published articles written by L1 academics in the same or comparable journals. The results reveal significant overuse of certain features by Portuguese academics, and a corresponding underuse of others, suggesting marked differences in the value attributed to those features by the two cultures.

Background Person-centered language places a person’s identity before any disability or medical condition they may have. Using person-centered language reduces stigma and improves the patient-physician relationship, potentially optimizing health outcomes. Patients with psoriasis often feel stigmatized due to their chronic skin condition. Objective We seek to evaluate the use of person-centered language in psoriasis literature and to explore whether certain article characteristics were associated with non–person-centered language. Methods We performed a systematic search on PubMed for recently published articles in journals that regularly publish psoriasis studies. After article reduction procedures, randomization, and screening, we reached our target sample of 400 articles. The following non–person-centered language terms were extracted from each article: “Psoriasis Patient,” “Psoriasis subject,” “Affected with,” “Sufferer,” “Suffering from,” “Burdened with,” “Afflicted with,” and “Problems with.” Screening and data extraction occurred in a masked duplicate fashion. Results Of the 400 included articles, 272 (68%) were not adherent to person-centered language guidelines according to the American Medical Association Manual of Style. The most frequent non–person-centered language term was “Psoriasis Patient,” found in 174 (43.5%) articles. The stigmatizing language was associated with the type of article and funding status, with original investigations and funded studies having higher rates of stigmatizing language. Conclusions Articles about psoriasis commonly use non–person-centered language terms. It is important to shift away from using stigmatizing language about patients with psoriasis to avoid potential untoward influences. We recommend using “patients with psoriasis” or “patient living with psoriasis” to emphasize the importance of person-centered care.

The main purpose of this study is to identify a standard structural pattern of introduction sections of two different disciplines, i.e. research articles from English Language Teaching (ELT) and Civil Engineering (CE) corpora. Twelve articles were randomly chosen from four established journals of both disciplines namely; Language Learning (LL), Foreign Language Annals (FLA), Transportation (T) and Structural Survey (SS). Content analysis was manually conducted by incorporating the modified CARS model of Anthony’s (1999) in identifying the introductions’ rhetorical moves in both disciplines. Besides move structures, the headings, length and paragraphing element were highlighted for the comparison purposes. As a result, the rhetorical move of the modified model is totally applicable in CE corpora but it slightly fit the presented structural patterns in ELT research articles. Thus, it is noticeable that relying on this modified model has only given the general guide for authors of both disciplines. The model could be further revised in allowing ‘emerging’ patterns of any discipline writing styles and these findings can also be added to existing literature of interdisciplinary RA introduction genre analyses.Keywords: modified CARS model; introductions; structural pattern; genre analysis

Objective: Psychosocial associations have been observed with level of cervical dysplasia or “pre-cancer” and invasive cervical cancer [related to human papillomavirus (HPV) infection]. Psychoneuroimmunological relationships have been observed in human immunodeficiency virus type 1 (HIV-1) infection, which is being described in an increasing number of women. Our objective was to review these relationships regarding effects that might be expected in HIV-1 and HPV co-infected women. Method: This review was based on a Medline literature search supplemented by a manual search of selected journals unrepresented in that database. Results: Relationships of psychosocial factors and level of cervical dysplasia were similarly observed with reference to immunological and health status in asymptomatic and early symptomatic HIV-1 infected homosexual men, suggesting that a potentiating effect may occur in HIV-1 and HPV co-infected women. Consistency of relationships across studies appeared to be enhanced by the use of a biopsychosocial model integrating the effects of life stressors, social support and coping style as well as psychiatric disorders. Conclusions: Research is indicated on the relationships between psychosocial factors, immunological status and clinical health status in this group of women. Because of the high prevalence of psychosocial risk factors for chronic psychological distress in these women and the known immunological and health status decrements occurring with progression of these two infections, a clinical screening program based on the biopsychosocial model is recommended as a means of secondary prevention. If effective in generating treatment referrals, such a program would likely improve quality of life and could aid in the determination of relationships with immunological and health status as well.

Abstract Stylometric authorship attribution aims to identify an anonymous or disputed document’s author by examining its writing style. The development of powerful machine learning based stylometric authorship attribution methods presents a serious privacy threat for individuals such as journalists and activists who wish to publish anonymously. Researchers have proposed several authorship obfuscation approaches that try to make appropriate changes (e.g. word/phrase replacements) to evade attribution while preserving semantics. Unfortunately, existing authorship obfuscation approaches are lacking because they either require some manual effort, require significant training data, or do not work for long documents. To address these limitations, we propose a genetic algorithm based random search framework called Mutant-X which can automatically obfuscate text to successfully evade attribution while keeping the semantics of the obfuscated text similar to the original text. Specifically, Mutant-X sequentially makes changes in the text using mutation and crossover techniques while being guided by a fitness function that takes into account both attribution probability and semantic relevance. While Mutant-X requires black-box knowledge of the adversary’s classifier, it does not require any additional training data and also works on documents of any length. We evaluate Mutant-X against a variety of authorship attribution methods on two different text corpora. Our results show that Mutant-X can decrease the accuracy of state-of-the-art authorship attribution methods by as much as 64% while preserving the semantics much better than existing automated authorship obfuscation approaches. While Mutant-X advances the state-of-the-art in automated authorship obfuscation, we find that it does not generalize to a stronger threat model where the adversary uses a different attribution classifier than what Mutant-X assumes. Our findings warrant the need for future research to improve the generalizability (or transferability) of automated authorship obfuscation approaches.

Various self-regulated learning (SRL) problems often occur in early childhood during the transition from pre-school to elementary school. The ability to self-regulated learning is im- portant for school readiness and success throughout life, requiring the ability of parents to encourage the development of these abilities. The purpose of this study is to develop childcare strategies on self-regulation, such as children's ability to regulate metacognition, motivation and behavior to re- duce problems. Research produces certain products and tests their effectiveness. Respondents in- volved parents from 18 districts in 9 cities in the technique of data analysis using quantitative and qualitative approaches. The results showed differences in the average scores of children's independ- ent learning both before and after parents learned and applied the contents of the manual book. The result of the effectiveness test is sig = 0,000 <α = 0.05. So, H0 is rejected, and the results of the chi- square test sig = 0,000 <0.05, then H0 is rejected. In conclusion, parenting strategies using manuals so that parents can improve competencies such as parents' knowledge, attitudes and skills, and prove effective in increasing children's independent learning. Keywords: Early Childhood, Parenting strategy, Self-regulated learning References Bandura, A. (1977). Social learning theory. Englewood Cliffs: Prentice-Hall. Ben-Eliyahu, A. (2019). Academic Emotional Learning: A Critical Component of Self-Regulated Learning in the Emotional Learning Cycle. Educational Psychologist, 54(2), 84–105. https://doi.org/10.1080/00461520.2019.1582345 Bergen, D., & Davis, D. (2011). Influences of Technology-Related Playful Activity and Thought on Moral Development. American Journal of Play, 4(1), 80–99. Retrieved from http://eric.ed.gov/?id=EJ985549 Bjorklund, F, D. (2012). Children’s Thinking: Cognitive Development and Individual Differences. USA: Wadsworth, Cengage Learning. Borg, W. R., & Gall, M. D. (1989). Educational research. New York: Longman. Bronson, M. B. (2000). Self-regulation in early childhood. New York: The Guilford Press. Carlton, M. P., & Winsler, A. (1998). Fostering intrinsic motivation in early childhood classrooms. Early Childhood Education Journal, 25(3), 159–166. https://doi.org/10.1023/A:1025601110383 Daniel, G. R., Wang, C., & Berthelsen, D. (2016). Early school-based parent involvement, children’s self-regulated learning and academic achievement: An Australian longitudinal study. Early Childhood Research Quarterly, 36, 168–177. https://doi.org/10.1016/j.ecresq.2015.12.016 Dick, W., & Carey, L. (2009). The Systematic Design of Instruction. New Jersey: Pearson Education. Jacob, L., Dörrenbächer, S., & Perels, F. (2019). A pilot study of the online assessment of self- regulated learning in preschool children: Development of a direct, quantitative measurement tool. International Electronic Journal of Elementary Education, 12(2), 115–126. https://doi.org/10.26822/iejee.2019257655 Jeong, J., & Frye, D. (2020). Self-regulated learning: Is understanding learning a first step? Early Childhood Research Quarterly, 50, 17–27. https://doi.org/10.1016/j.ecresq.2018.12.007 Jittaseno, P., & Varma S, P. (2017). Influence of Parenting Styles on Self-Regulated Learning Behavior Mediated By Self-Efficacy and Intrinsic Value. University of Thailand Journals, (March), 44–62. https://doi.org/https://www.researchgate.net/publication/315458200 Morawska, A., Dittman, C. K., & Rusby, J. C. (2019). Promoting Self-Regulation in Young Children: The Role of Parenting Interventions. Clinical Child and Family Psychology Review, 22(1), 43–51. https://doi.org/10.1007/s10567-019-00281-5 Oppong, E., Shore, B. M., & Muis, K. R. (2019). Clarifying the Connections Among Giftedness, Metacognition, Self-Regulation, and Self-Regulated Learning: Implications for Theory and Practice. Gifted Child Quarterly, 63(2), 102–119. https://doi.org/10.1177/0016986218814008 Ormrod, J. E. (2009). Psikologi Pendidikan Membantu Siswa Tumbuh dan Berkembang (6th editio). Jakarta: Erlangga. Perels, F., Merget-kullmann, M., Wende, M., Schmitz, B., & Buchbinder, C. (2009). The British Psychological Society Improving self-regulated learning of preschool children : Evaluation of training for kindergarten teachers. British Journal of Educational Psychology, 79, 311– 327. https://doi.org/10.1348/000709908X322875 Sanders, M. R., Turner, K. M. T., & Metzler, C. W. (2019). Applying Self-Regulation Principles in the Delivery of Parenting Interventions. Clinical Child and Family Psychology Review, 22(1), 24–42. https://doi.org/10.1007/s10567-019-00287-z Schunk, H. ., & Pintrich, P. R. (2008). Motivational In Education: Theory, Research, and Application. Ohio: Pearson. Seroussi, D. E., & Yaffe, Y. (2020). Links Between Israeli College Students’ Self-Regulated Learning and Their Recollections of Their Parents’ Parenting Styles. SAGE Open, 10(1). https://doi.org/10.1177/2158244019899096 Sugiyono. (2013). Metode Penelitian Pendidikan (Pendekatan Kuantitatif, Kualitatif dan R & D. Bandung. Thomas, V., De Backer, F., Peeters, J., & Lombaerts, K. (2019). Parental involvement and adolescent school achievement: the mediational role of self-regulated learning. Learning Environments Research, 22(3), 345–363. https://doi.org/10.1007/s10984-019-09278-x Thomas, V., Muls, J., De Backer, F., & Lombaerts, K. (2019). Exploring self-regulated learning during middle school: views of parents and students on parents’ educational support at home. Journal of Family Studies, 9400. https://doi.org/10.1080/13229400.2018.1562359 Tiniakou, E. (2017). Patterns of parenting in the life histories of highly self-regulated learners (Universiteit Twente). Retrieved from http://essay.utwente.nl/73234/ Tiniakou, E., Hirschler, T., Endedijk, M. D., & Margaryan, A. (2018). Becoming self-regulated: Patterns of parenting in the lives of professionals who are highly self-regulated learners. Journal of Self-Regulation and Regulation, 4(0), 7–42. https://doi.org/10.11588/JOSAR.2018.0.49364 Tobias, S., & Everson, H. (2000). Assessing Metacognitive Knowledge Monitoring. Report No. 96-01. College Entrance Examination Board, (96). Retrieved from http://search.ebscohost.com/login.aspx?direct=true&db=eric&AN=ED562584&site=ehost -live Veenman, M. V. J., Van Hout-Wolters, B. H. A. M., & Afflerbach, P. (2006). Metacognition and learning: Conceptual and methodological considerations. Metacognition and Learning, 1(1), 3–14. https://doi.org/10.1007/s11409-006-6893-0 Venitz, L., & Perels, F. (2019). Promoting self-regulated learning of preschoolers through indirect intervention: a two-level approach. Journal of Family Studies, 9400(13), 2057–2070. https://doi.org/10.1080/03004430.2018.1434518 Vygotsky, L. (1978). Interaction between learning and development (In M. Gauv). New York: Scientific American Books. Whitebread, D., Coltman, P., Pasternak, D. P., Sangster, C., Grau, V., Bingham, S., ... Demetriou, D. (2009). The development of two observational tools for assessing metacognition and self- regulated learning in young children. Metacognition and Learning, 4(1), 63–85. https://doi.org/10.1007/s11409-008-9033-1 Wolters, C. A. (2003). Conceptualizing the Role and Influence of Student- Teacher Relationships on Children ’ s Social and Cognitive Development. Educational Psychologist, 38(4), 207– 234. https://doi.org/10.1207/S15326985EP3804 Zimmerman, B. J. (2010). Self-Regulated Learning and Academic Achievement: An Overview. Educational Psychologist, 25(1), 3–17. https://doi.org/10.1207/s15326985ep2501

<p class="MsoBlockText" style="margin: 0in 0.5in 0pt;"><span style="font-style: normal; font-family: &quot;CG Times&quot;,&quot;serif&quot;; font-size: 10pt;">Citation analysis is gaining importance in evaluation of faculty research because of the need for objective, consistent analysis and because of the availability of databases that provide citation information.<span style="mso-spacerun: yes;">&nbsp; </span>An overview of citation analysis is presented, along with criteria for and examples of manual and electronic citation analysis.<span style="mso-spacerun: yes;">&nbsp; </span>The example of the manual count determines the average number of bibliographic citations per article; the recency of the citation;<span style="mso-spacerun: yes;">&nbsp; </span>the author self-citation rate; the percentage of citations listed in the articles from books, journals, or other publications;<span style="mso-spacerun: yes;">&nbsp; </span>the average number of pages per article; the incidence of citations to the journal in which the article is published (journal self-citations).<span style="mso-spacerun: yes;">&nbsp; </span>The examples of the electronic count give number of citations from authors in other journals, impact factor, immediacy index, and cited half-life. Results provide insight into availability of data and possible uses of that data; i.e., faculty and research evaluation, selection of journals in which to publish, and implications for the future.</span></p>

Social media has become a channel through which journalists distribute their work, reach audiences and gain visibility. Informed by the frameworks of journalistic branding, the heuristic-systematic model, and hypertextual elements, the present study examines the extent to which the source factor (journalists’ branding on social media profiles) and message factors (communication styles and hypertextual elements) influence visibility (i.e. the popularity of the account and the number of favourites and retweets of the posts). We analysed the Twitter profiles of 98 health journalists from seven major media organizations in the US and conducted a manual content analysis of a representative sample of their public tweets (n = 3982) published during the Covid-19 pandemic. In contrast to expectations, branding contributed little to any indicators of visibility, and profiles with institutional branding had fewer followers. Both affective messages and rational messages received more likes and retweets than messages without these elements. Tweets containing images or news-related hyperlinks received more retweets, whereas the number of @mentions in a tweet was negatively related to visibility. Journalists from traditional media, those who tweeted more often, and those with more followers had higher levels of visibility.

Populist communication, in this entry, refers to the occurrence of a) specific messages that are seen as the expression of populist ideology and b) characteristic style elements that are often associated with these messages expressing populist ideology in political actors’ (or other actors such as journalists’ or citizens’) communication (Ernst et al., 2019; De Vreese et al., 2018). Field of application/theoretical foundation: Populism has been defined in various terms; e.g., as Ideology (Canovan, 1999; Mudde, 2004), set of ideas (Hawkins et al., 2018, Taggart, 2000), discourse (Laclau, 2005; Mouffe, 2018), political style (Moffit, 2016), communication style (Jagers & Walgrave, 2007), or political strategy (Weyland, 2017). Thus, there have been numerous operationalizations of populism or populist communication in content analyses that cannot all be accounted for here. This entry specifically follows a communication-centered perspective (Stanyer et al., 2016; De Vreese et al., 2018). Jagers & Walgrave (2007), in a pioneer study on populist communication, define populism as a political communication style “essentially displaying proximity of the people, while at the same time taking an anti-establishment stance and stressing the (ideal) homogeneity of the people by excluding specific population segments.” In a more recent study, Ernst et al. (2019) differentiate between populist communication content and populist communication style. Populist communication content refers to the communicative representation of the populist ideology (what is being said) that can be expressed in the form of populist key messages. Depending on the parsimony of the definition, populist ideology comprises three or four dimensions: people-centrism, anti-elitism, restoring sovereignty, and exclusion (e.g., De Vreese et al., 2018; Mudde, 2004; Jagers & Walgrave, 2007; Wirth et al., 2016). In distinction to the content, Ernst et al. (2019) define populist communication style as the use of populism-related style elements (how something is said) (see also De Vreese et al., 2018; Bracciale & Martella, 2018). Communication-centered content analyses of populist communication are often carried out in three steps. First, specific characteristics of populist communication (e.g., populist key messages or stylistic elements) are identified. Second, the occurrence of these individual elements is then coded either on the statement level (e.g. Ernst et al., 2019; Wirth et al., 2016), excerpts level (Jagers & Walgrave, 2007), or on the text/article level (e.g. Blassnig et al, 2019). Third, the level of populism is determined using different indices for populist communication as a whole (e.g. maximum indices; Blassnig et al., 2019; Ernst et al., 2019) or for the individual dimensions separately (e.g., Jagers & Walgrave, 2007). Populism indices can be calculated at the statement level, text level, or actor level. References/combination with other methods of data collection: Whereas this entry focuses on quantitative and deductive approaches, populist communication has also been investigated using qualitative or inductive approaches (e.g., Wodak, 2015), especially in studies following a more actor-centered approach (Stanyer et al., 2016). Most studies on populist communication have used manual content analysis. Yet, some analyses have also applied automated approaches to investigate the occurrence of populist communication in texts (e.g., Hawkins & Castanho Silva, 2018). Example studies: Blassnig et al., (2019); Bracialle & Martella (2017); Ernst et al., (2019); Jagers & Walgrave, (2007) Table 2: Summary of a selection of studies on populist communication Author(s) Sample Unit of Analysis Values Reliability Jagers & Walgrave, 2007 Content type: political party broadcasts (PPB) Country: Belgium (Flemish part) Political actors: six Belgian-Flemish parties Outlets: 20 PPBs per party Sampling period: 1999 - 2001 Sample size: 1,200 PPB excerpts Unit of analysis: excerpts including ‘thin’ populism (references to the people) Level of analysis: excerpt level and actor level People-index: multiplication of the proportion and intensity of references to the people for each party Anti-state-index: number of anti-state excerpts * average intension anti-state excerpts (1-5) per party Anti-politics-index: number of anti-politics excerpts * average intension anti-politics excerpts (1-5) per party Anti-media-index: number of anti-media excerpts * average intension anti-media excerpts (1-5) per party Anti-establishment-index: anti-state + anti-politics + anti-media per party Exclusivity-index: J-scores; (positive – negative evaluations) / (positive + neutral + negative evaluations of specific population categories) References to the people: terms referring to the population (as a whole or population categories), that cover the people “in political terms”, meaning the “political entity” Anti-state: failure of the state with regard to (1) single failure, (2) systematic failure, (3) public service should be abolished, (4) all public services are criticized at once, (5) the system Anti-politics: criticism directed towards (1) policy measure or present situation, (2) policy, (3) politician, (4) party, (5) group of parties, (6) all parties. (7) the system Anti-media: media targets of criticism; (1) newspaper/ magazine/ tv channel, (2) group of media, (3) all (the) media Evaluation of specific population categories: positive, neutral, negative (for further restrictions for the individual variables and more detailed instructions see the methodological appendix by Jagers & Walgrave, 2007) Reliability is not reported Ernst, Blassnig, Engesser, Büchel, & Esser (2019) (See also Ernst et al., 2018; Ernst, Esser et al., 2019; Wirth et al., 2016) Content type: statements by politicians expressing either a political position, an elaboration on a political issue, or an evaluation/ attribution of a target actor Countries: CH, DE, IT, FR, UK, US Political actors: 98 politicians from 31 parties Outlets: political talk shows (2 per country), politicians’ Facebook and Twitter accounts Sampling period: April through May 2015 Sample size: n = 2’067 (n = 969 talk show statements, n = 734 Facebook posts, and n = 364 Tweets Unit of analysis: a single statement by a politician on a target actor or an issue Level of analysis: statement level and actor level Populism index: Maximum index based on the nine populist key messages and seven stylistic elements (0/1) Populist key messages: Anti-elitism: discrediting the elite, blaming the elite, detaching the elite from the people People-centrism: stressing the people’s virtues, praising the people’s achievements, stating a monolithic people, demonstrating closeness to the people Restoring sovereignty: demanding popular sovereignty, denying elite sovereignty Populist style elements: Negativity: negativism, crisis rhetoric Emotionality: emotional tone, absolutism, patriotism) Sociability: colloquialism, intimization (all items were coded as dummy variables based on more detailed sub-categories) Brennan & Prediger’s kappa average = 0.91 (³0.65) Blassnig, Ernst, Büchel, Engesser, & Esser (2019) Content type: election news coverage about immigration and adjacent reader comments Countries: CH, FR, UK Actors/Speakers: politicians, journalists, and citizens Outlets: 6 online news outlets per country Sampling period: six weeks before the respective election days. CH: September to October 2015; FR: April to May 2017; UK: April to May 2015 Sample size: n = 493 news articles and n = 2904 reader comments Unit of analysis: news article / reader comment Level of analysis: article level Populism index: Maximum index based on the twelve populist key messages (0/1) Populist key messages: Anti-elitism: discrediting the elite, blaming the elite, detaching the elite from the people People-centrism: praising the people’s virtues, praising the people’s achievements, describing the people as homogenous, demonstrating closeness to the people Restoring sovereignty: demanding popular sovereignty, denying elite sovereignty Exclusion: discrediting specific social groups, blaming specific social groups, excluding specific social groups from the people (all items were coded as dummy variables) Brennan & Prediger’s kappa average = 0.75 Bracciale & Martella (2017) Content type: politicians’ tweets Country: Italy Political actors: 5 party leaders Outlets: leaders’ Twiter timelines Sampling period: 1 January 2015 to 1 July 2016 Sample size: n = 7,772 Unit of analysis: tweets Level of analysis: tweets, actors Indices: Populist ideology: three additive synthetic dichotomous indices adding together the indicators for each of the three dimensions of populism (sovereignty of the people, attacking the elite, ostracizing others) The variables for political communication style were summarized using multiple correspondence analysis (MCA) into two dimensions: communicative mode (positive vs. negative) and communicative focus (personalization vs. political/ campaign) Political communication style: Stagecraft: emotionalisation; informality, instrumental actualization, intimisation, negative affect, simplification, storytelling, taboo breaker, vulgarism Register (communicative tone): referential/ neutral, aggressive/ provocative, humorous/ ironic, conversational/ participatory Topic: political issues, policy issues, campaign issues, personal issues, current affairs Function: campaign updating, self-promotion, setting the agenda, position-taking, call to action, opposition/ violence, endorsement, irony, request for interaction, pointless babble Populist ideology: Emphasizing sovereignty of the people: refers to the people, refers to ‘ad hoc’ people, direct representation Attacking the elite: generic anti-establishment, political anti-establishment, economic anti-establishment, EU anti-establishment, institutional anti-establishment, anti-elitism media, anti-elitism intellectuals Ostracizing others: dangerous others, authoritarianism (all individual indicators were coded as dummy variables) Krippendorff's Alpha > .83 References Blassnig, S., Ernst, N., Büchel, F., Engesser, S., & Esser, F. (2019). Populism in online election coverage. Journalism Studies, 20(8), 1110–1129. https://doi.org/10.1080/1461670X.2018.1487802 Bracciale, R., & Martella, A. (2017). Define the populist political communication style: the case of Italian political leaders on Twitter. Information, Communication & Society, 20(9), 1310–1329. https://doi.org/10.1080/1369118X.2017.1328522 Canovan, M. (1999). Trust the people! Populism and the two faces of democracy. Political Studies, 47(1), 2–16. https://doi.org/10.1111/1467-9248.00184 Cranmer, M. (2011). Populist communication and publicity: An empirical study of contextual differences in Switzerland. Swiss Political Science Review, 17(3), 286–307. https://doi.org/10.1111/j.1662-6370.2011.02019.x De Vreese, C. H., Esser, F., Aalberg, T., Reinemann, C., & Stanyer, J. (2018). Populism as an expression of political communication content and style: A new perspective. The International Journal of Press/Politics, 23(4), 423-438. https://doi.org/10.1177/1940161218790035 Engesser, S., Fawzi, N., & Larsson, A. O. (2017). Populist online communication: Introduction to the special issue. Information, Communication & Society, 20(9), 1279–1292. https://doi.org/10.1080/1369118X.2017.1328525 Ernst, N., Blassnig, S., Engesser, S., Büchel, F., & Esser, F. (2019). Populists prefer social media over talk shows: An analysis of populist messages and stylistic elements across six countries. Social Media + Society, 5(1), 1-14. https://doi.org/10.1177/2056305118823358 Hawkins, K. A., Carlin, R. E., Littvay, L., & Rovira Kaltwasser, C. (Eds.). (2018). Extremism and democracy. The ideational approach to populism: Concept, theory, and analysis. Routledge. Haswkins, K. A., & Castanho Silva, B. (2018). Textual analysis: big data approaches. In K. A. Hawkins, R. E. Carlin, L. Littvay, & C. Rovira Kaltwasser (Eds.). Extremism and democracy. The ideational approach to populism: Concept, theory, and analysis (pp. 27-48). Routledge. Jagers, J., & Walgrave, S. (2007). Populism as political communication style: An empirical study of political parties' discourse in Belgium. European Journal of Political Research, 46(3), 319–345. https://doi.org/10.1111/j.1475-6765.2006.00690.x Laclau, E. (2005). On populist reason. London: Verso. Moffitt, B. (2016). The global rise of populism: Performance, political style, and representation. Stanford University Press. Mudde, C. (2004). The populist Zeitgeist. Government and Opposition, 39(4), 542–563. https://doi.org/10.1111/j.1477-7053.2004.00135.x Stanyer, J., Salgado, S., & Strömbäck, J. (2017). Populist actors as communicators or political actors as populist communicators: Cross-national findings and perspectives. In T. Aalberg, F. Esser, C. Reinemann, J. Strömbäck, & C. H. de Vreese (Eds.), Populist political communication in Europe (pp. 353–364). Routledge. Taggart, P. (2000). Populism. Concepts in the social sciences. Open University Press. Wirth, W., Esser, F., Engesser, S., Wirz, D. S., Schulz, A., Ernst, N., . . . Schemer, C. (2016). The appeal of populist ideas, strategies and styles: A theoretical model and research design for analyzing populist political communication. Zurich: NCCR Democracy, Working Paper No. 88, pp. 1–60. https://doi.org/10.5167/uzh-127461 Wodak, R. (2015). The Politics of Fear: What Right-Wing Populist Discourses Mean. SAGE Publications.

Professor Antonio Miranda Regojo-Borges is a polymath; an architectural critic whose knowledge base covers centuries, reaches across disciplines and informs his polemic thoughts. He writes quixotic and “antiquarian” prose - in the style of Wollflin’s principles of art history, Kant’s theories on taste, and William Gilpin’s Eighteenth Century tour journals. In its enumerative tendencies, it is reminiscent of the analytical theorists Edmund Burke, whilst in its examination of architecture in the cultural industry context it reminds us of Theodore Adorno. At times ironic, at times bombastic, and at times mocking, his writing style will alienate as many as it enthuses. He will not care. This text offers both a critique of modern culture and an outline model for architectural criticism. Rooted in the most radical beliefs of a Twentieth Century Modernism, that for many seems moribund today, it argues that the pillars upon which the modern utopian vision was constructed remain essential – perhaps more essential than ever today. In the media obsessed, consumerist context of the present, and in the aftermath of the latest economic collapse to befall the world economy, it argues for an architecture of “the essential” – a functional and poetic architecture of the anti-spectacle. Antonio Miranda is the author of 15 books amongst which we can list, to name but a few: Antología de arquitectura moderna 1900-1990; Ni robot ni bufón: manual para la crítica de arquitectura; Horizonte cerrado; Columnas para la resistencia - variaciones sobre ciudad, arquitectura y subcultura; and .A todos los becarios de la reina - ocho ensayos de estética civil. He has spent a career of over 40 years writing some of the most ardent and focused architectural criticism in the Spanish language. Based on the idea of “falsation”, as developed by Karl Popper, it comes close to being a manifesto for criticism. It offers guidelines for rooting out “bad” architecture – a series of pointers to be used in judging the work of an architect. These pointers, he suggests, will not produce “great” buildings, but may be useful in the “identification” of architecture that does not conform to “minimum standards of function and rationalism”. For some it will be rigid, prescriptive, dogmatic and impractical. It is certainly satirical, ruthless and uncompromising. On the “Falsation” of Deceitful Architectures, as the title suggests, is no ordinary architectural text.

To the unrefined or under-bred person, the visiting-card is but a trifling and insignificant piece of paper; but to the cultured disciple of social law it conveys a subtle and unmistakable intelligence. Its texture, style of engraving, and even the hour of leaving it, combine to place the stranger whose name it bears in a pleasant or disagreeable attitude, even before his manners, conversation, and face have been able to explain his social position (1920 etiquette manual quoted in Curtin 138). There’s a scene in the ‘90s TV series Ab Fab where Eddy, stumbling from her car, fresh from Harvey Nicks and tipsy on Bolly, shouts into her mobile ‘it’s ok Bubbles, I’m coming into the office now’ as she enters the office. When it first aired this was a wry comment on the vacuous, superfluous nature of new communication technologies. Now, it’s like ‘so what?’ Why not attempt to convey constantly the banal minutiae of the every day? Indeed, what troubles the technological verisimilitude is not that Eddy desires absolute proximity but that she’s not texting. In these days of ‘intensive propinquity’ (Kang 2002), however, it is easy to overlook the fact that telepresence—text’s uncanny power to stand in for the corporeal body—has a long history. Indeed, one such precursor to today’s technologies of telepresence would undoubtedly appeal to Eddy and Pats. In this paper, I want to consider the extent to which the British eighteenth-century visiting card conceptually, culturally and materially anticipates a range of contemporary technologies of propinquity. Acting as complex cultural avatars, these visiting cards conveyed the desires of class and gender in the construction of identity. The British pictorial visiting card of the early eighteenth century developed from the practice of using playing cards as visiting cards, the caller’s name being inscribed on the back of the playing card. In the mid eighteenth century the custom of using playing cards as visiting cards was replaced by cards manufactured for the express purpose of notifying those with whom one wished to make contact. At first these cards, printed on ‘stout paper or thin card’, were relatively plain, except for ‘an ornamental frame of tasteful design’ that surrounded the edge thus leaving the centre blank so that the caller could write their name. Soon, however, visiting cards were being printed with illustrations. These cards commonly left room for a short message in addition to the caller’s name (Staff 10). By the latter part of the eighteenth century, most visiting cards carried elaborate designs which varied according to the taste, hobbies or professional interests of the intended consumers. For those connected to the military, for example, there were cards illustrated with swords, cannons, flags or a person in uniform was depicted. Cards left by recent callers were commonly displayed in special receptacles on mantelpieces or small tables so that visitors ‘had a chance to see whom the family numbered among its social circle and be suitably impressed’ (Pool 66). At the close of the eighteenth century, the highly illustrated visiting card gave way to an understated and smaller format. No longer pictorial, visiting cards of the nineteenth-century, as Maurice Rickards notes, were ‘reticent’ in style and ‘espoused sobriety’ in typography and design. Victorian culture took seriously the materialities of visiting card practice as the exchange and expression of symbolic capital. As Rickards explains: In Britain, the etiquette of typographic style and layout was rigorously observed: the wording was engraved; printing was in black, card colour was white. A man’s town address appeared in the lower left-hand corner, his club on the right …. Unmarried daughters living at home did not have cards of their own. They appeared compendiously on their mother's cards (351). Visiting cards demonstrate the rich prehistory of contemporary technologies of telepresence in terms of the imaginative, symbolic and rhetorical functions they performed. Telepresence can be defined as the degree to which geographically dispersed agents experience a sense of physical and/or psychological proximity through the use of particular communication technologies. Like many of the media forms they anticipate, visiting cards were used to stand in for the corporeal presence of their author. As a late nineteenth-century etiquette manual explained: ‘the stress laid by Society upon the correct usage of these magic bits of paste-board, will not seem unnecessary, when it is remembered that the visiting card … frequently is made to take the place of one’s self’ (quoted in Davidoff 42). Visiting cards functioned as avatars of presence and identity, a complex language system which allowed the discursive agents to mediate social relations according to the varying degrees of intimacy that were desired. As long as all parties could read the codes and conventions, the level of acquaintanceship could be increased, maintained or decreased. For example, if one wanted to ‘put an end to an unsatisfactory acquaintanceship’, help was, literally, at hand. Instead of the ‘intolerable’ practice of ‘cutting’ – the procedure of pointedly refusing to recognise a person with whom one formerly had been in close contact – one would slowly reduce the time spent calling to the minimum length required. ‘After this’, advises an 1897 guide called Manners for Men, the gentleman ‘may leave cards once more without asking if the ladies of the family are at home. In this way he can gradually and with perfect courtesy break off the intimacy’ (quoted in Curtin 144). But communication might sometimes break down inadvertently. A participant’s failure to interpret the signs correctly could have unpleasant consequences. Because of this, etiquette manuals warned that servants be instructed on how to observe the difference between calling and card leaving. The intricacy inherent in the semiotics of ‘speaking by the card’ is demonstrated by the role servants were expected to play. Protocol demanded that a call was answered with a call and a card by a card. Returning a call with a card could be interpreted as a snub. In some cases that was the intention of one of the participants; leaving a card instead of calling in person was an easily understood gesture intended to scale down a particular acquaintanceship. However, it might just be a mistake. One of the many complications adhering to the practice of calling and leaving cards was that one could not assume the person to whom a card belonged had, in fact, ‘called’ upon one. As Michael Curtin explains: In practice, cards very often substituted for calls since the person receiving the call was not at home. In this case, a card equalled a call, though there was a complication. Since … cards were delivered in person, one who meant to leave cards was easily confused with another who called but merely left cards because no one was at home (141). The first problem, then, is how the caller deploys the card and how the receiver interprets this action; to what degree does the card stand for the physical presence of the caller? Even in the pre-Barthesian era, authorial intention was problematic: did the caller intend to see the person on whom they called or did the card stand for a less intimate mode of communication? Further complicating matters were the servants. Unlike Wilkie Collins’ depiction of a passive and neutral butler bearing a visiting card—‘waiting not like a human being who took an interest in the proceedings but … like an article of furniture’ (85)—many etiquette manuals warned that servants were actively involved in the chain of communication. Servants, as Curtin outlines, often went to call in place of their ‘mistresses’ and ‘therefore should be exactly instructed as to their mistress’s wishes, whether to call or to leave a card’. Likewise, ‘those servants who answered the door should be made to understand this distinction, to inquire into the caller’s intention’ and record this in writing (141). Visiting cards reproduced divisions of class by regulating the public and the private. The finely nuanced signifying system of these cards addressed only middle-class and aristocratic participants. For the middle classes and the aristocracy, privacy was the inherited right which visiting cards sought to protect. Those of the working class, as Davidoff argues, had to accept that their homes could be entered at any time by members of the ‘superior’ class, who would walk in and ‘at once become involved in the life of the family by asking questions, dispensing charity or giving orders’ (46). If the visiting card was significant as a medium of telepresence, enabling subjects to imagine, desire, fear or forestall each other’s presence, in 1854 this function was enhanced with the addition of a photographic image. The carte-de-visite reworked and conflated the technical, formal and social uses of both portraiture and the visiting card. Distinguished from the older types of visiting card by being smaller in dimension, usually measuring 4½ x 2½ inches, the carte-de-visite also carried a photographic print which was affixed to the cardboard of which it was made. Mediating the performance of identity in new ways, cards now visually depicted their bearers: Thus for a ceremonial visit, the print would represent the visitor with his hands imprisoned in spotless gloves, his head slightly inclined, as for a greeting, his hat resting graciously on his right thigh. According to etiquette, if the weather were bad, an umbrella faithfully reproduced under the arm of a visitor would eloquently declare the merit of his walk (quoted in McCauley 28). The role played by the carte-de-visite in the performance of gender is emphasised by an 1862 article on ‘flirting’ which warned that a woman would be so branded ‘if she be lavish in the distribution of her carte-de-visite’ (‘Flirts’ 163). The carte-de-visite was also an important element in the production of celebrity and the emerging commodity culture. While functioning as a visiting card, the particular topics and scenes represented on the carte-de-visite meant that it became a popular object to collect and display. Often depicting royalty, politicians or military leaders, this new mode of portraiture, as an 1862 newspaper put it, made ‘the public thoroughly acquainted with all its remarkable men’ to the extent that ‘we know their personality long before we see them’ (Wynter 673). The carte-de-visite familiarised the famous and made famous the familiar: The commercial value of the human face was never tested to such an extent as it is at the present moment in these handy photographs. No man, or woman either knows but that some accident may elevate them to the position of the hero of the hour (Wynter 673). Although invented to modernise the existing visiting card, the carte-de-visite neither replaced the older version nor was it used solely for calling. For the bourgeoisie, argues McCauley, the carte-de-visite album became a ‘faddish parlour amusement’ (48). As an enabler of telepresence, the carte-de-visite seemed to promise future generations an intimate knowledge of their distant ancestors. It would collapse time, bringing history into the present. As one nineteenth century journalist remarked, ‘it is very pleasing to have one’s relatives and acquaintances reunited in an album … you converse with them, it seems as if they were there beside you’ (quoted in McCauley 48). In general, the literature on presence, virtual presence and telepresence limits its historiography to an examination of electronic media (for example, Goldberg, Sconce, and Sobchack). As this paper has suggested, what’s needed is research that focuses on those forms of analogue textual culture that, functioning as avatars of corporeality and presence, might be regarded as fabulous. Works Cited Kang, Kathy. ‘Intensive Propinquity and ::fc:: Style’, paper delivered at the Fibreculture Conference, November 22 - 24, Museum of Contemporary Art, Sydney, 2002. Collins, Wilkie. The New Magdalen. 1873. Gloucestershire, UK: Sutton, 1995. Curtin, Michael. Propriety and Position: A Study of Victorian Manners, London: Garland, 1987. Davidoff, Leonore. The Best Circles: Society, Etiquette and the Season, London: Croom, 1973. ‘Flirts,’ The Living Age. 74 (1862). Goldberg, Ken, ed. The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet, Cambridge, MA: MIT P, 2000. McCauley, Elizabeth Anne, A. A. E. Disderi and the Carte de Visite Portrait Photograph, New Haven: Yale U P, 1985. Pool, Daniel. What Jane Austen Ate and Charles Dickens Knew: From Fox Hunting to Whist: The Facts of Daily Life in Nineteenth-Century, New York: Simon & Schuster, 1993. Rickards, Maurice. The Encyclopedia of Ephemera: A Guide to the Fragmentary Documents of Everyday Life for the Collector, Curator, and Historian, ed. Michael Twyman, New York: Routledge, 2000. Sconce, Jeffrey. Haunted Media: Electronic Presence from Telegraphy to Television, Durham: Duke UP, 2000. Sobchack, Vivian. ‘The Scene of the Screen: Envisioning Cinematic and Electronic “Presence”’. Materialities of Communication. Ed. Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer, trans. William Whobrey. Stanford: Stanford U P. 83 - 106. Staff, Frank. The Picture Postcard and its Origins, London: Lutterworth, 1979. Wynter A. ‘Cartes De Visite,’ The Living Age. 72 (1862). Citation reference for this article MLA Style Milne, Esther. "‘Magic Bits of Paste-board’" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0401/02-milne.php>. APA Style Milne, E. (2004, Jan 12). ‘Magic Bits of Paste-board’. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0401/02-milne.php>

Cities are an important symbol of our contemporary era. They are not just places of commerce, but are emblems of the people who live within them. A significant feature of cities are their meeting places; areas that have either been designed or appropriated by the people. An example of this is the café. Cafés hold a unique place in history, as sites that have witnessed the growth of revolution, relationships great and small, between people and ideas, and more recently, technology. Computers are transcending their place in the private home or office and are now finding their way into café culture. What I am suggesting is that this is bringing about a new way of understanding how cafés foster community and act as media for social interaction. To explore this idea further I will look at the historical background of the café, particularly within Parisian culture. For W. Scott Haine, cities such as Paris have highly influential abilities. As he points out "the Paris milieu determined the consciousness of workers as much as their labor" (114). While specifically related to Paris, Haine is highlighting an important aspect in the relationship between people and the built environment. He suggests that buildings and streets are not just inanimate objects, but structures that shape our habits and our beliefs. Towards the middle of the nineteenth century, Paris was developing a new cultural level, referred to as Bohemia. Derived from the French word for Gypsy (Seigel 5) it was used to denote a class of people who in the eyes of Honoré de Balzac were the talent of the future (Seigel 4). People who would be diplomats, artists, journalists, soldiers, who at that moment existed in a transient state with much social but little material wealth. Emerging within this Bohemian identity were the bourgeois. They were individuals who led a working class existence, they usually held property but more importantly they helped provide the physical environment for Bohemian culture to flourish. Bourgeois society had the money to patronize Bohemian artists. As Seigel says "Bohemian and bourgeois were -- and are -- parts of a single field: they imply, require, and attract each other" (5). Cafés were a site of symbiosis between these two groups. As Seigel points out they were not so much established to create a Bohemian world away from the reality of working life, but to provide a space were the predominantly bourgeois clientèle could be entertained (216). These ideas of entertainment saw the rise of the literary café, a venue not just for drinking and socialization but where potential writers and orators could perform for an audience. Contemporary society has seen a strong decline in Bohemian culture, with the (franchised) café being appropriated by the upper class as a site of lattes and mud cake. Recent developments in Internet technology however have prompted a change in this trend. Whereas in the past cafés had brought about a symbiosis between the classes of Bohemian and bourgeois society they are now becoming sites that foster relationships between the middle class and computer technology. Computers and the Internet have their origins within a privileged community, of government departments, defence forces and universities. It is only in the past three years that Internet technology has moved out of a realm of expert knowledge to achieve a broad level of usage in the average household. Certain barriers still exist though in terms of a person's ability to gain access to this medium. Just as Bohemian culture arose out of a population of educated people lacking skills of manual labor and social status (Seigel 217), computers and Internet culture offer a means for people to go beyond their social boundaries. Cafés were sites for Bohemians to transcend the social, political, and economic dictates that had shaped their lives. In a similar fashion the Internet offers a means for people to explore beyond their physical world. Internet cafés have been growing steadily around the world. What they represent is a change in the concept of social interaction. As in the past with the Paris café and the exchange of ideas, Internet cafés have become places were people can interact not just on a face-to-face basis but also through computer-mediated communication. What this points to is a broadening in the idea of the café as a medium of social interaction. This is where the latte and mud cake trend is beginning to break down. By placing Internet technology within cafés, proprietors are inviting a far greater section of the community within their walls. While these experiences still attract a price tag they suggest a change in the idea that would have seen both the café and the Internet as commodities of the élite. What this is doing is re-invigorating the idea of the streets belonging to the middle class and other sub-cultures, allowing people access to space so that relationships and communities can be formed. References Haine, W. Scott. The World of the Paris Cafe: Sociability amongst the French Working Class 1789 - 1914. Baltimore: Johns Hopkins UP, 1996. Seigel, Jerrold. Bohemian Paris: Culture, Politics and the Boundaries of Bourgeois Life, 1830 - 1930. New York: Penguin Books, 1987. Citation reference for this article MLA style: Joseph Crawfoot. "Cybercafé, Cybercommunity." M/C: A Journal of Media and Culture 1.1 (1998). [your date of access] <http://www.uq.edu.au/mc/9807/cafe.php>. Chicago style: Joseph Crawfoot, "Cybercafé, Cybercommunity," M/C: A Journal of Media and Culture 1, no. 1 (1998), <http://www.uq.edu.au/mc/9807/cafe.php> ([your date of access]). APA style: Joseph Crawfoot. (1998) Cybercafé, cybercommunity. M/C: A Journal of Media and Culture 1(1). <http://www.uq.edu.au/mc/9807/cafe.php> ([your date of access]).

'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as jargon-filled cyber-crit hyperbole. Cyber-crit has always been at its best too when it invents pre-histories and finds hidden connections between different phenomena (like the work of Greil Marcus and early Mark Dery), and not when it is closer to Chinese Water Torture, name-checking the canon's icons (the 'Deleuze/Guattari' tag-team), texts and key terms. "The organization of sound is interpreted historically, politically, socially ... . It subdues music's ambition, reins it in, restores it to its proper place, reconciles it to its naturally belated fate", comments imagineer Kodwo Eshun (4) on how cyber-crit destroys albums and the innocence of the listening experience. This is how official histories are constructed a priori and freeze-dried according to personal tastes and prior memes: sometimes the most interesting experiments are Darwinian dead-ends that fail to make the canon, or don't register on the radar. Anyone approaching The Fragile must also contend with the music industry's harsh realities. For every 10 000 Goth fans who moshed to the primal 'kill-fuck-dance' rhythms of the hit single "Closer" (heeding its siren-call to fulfil basic physiological needs and build niche-space), maybe 20 noted that the same riff returned with a darker edge in the title track to The Downward Spiral, undermining the glorification of Indulgent hedonism. "The problem with such alternative audiences," notes Disinformation Creative Director Richard Metzger, "is that they are trying to be different -- just like everyone else." According to author Don Webb, "some mature Chaos and Black Magicians reject their earlier Nine Inch Nails-inspired Goth beginnings and are extremely critical towards new adopters because they are uncomfortable with the subculture's growing popularity, which threatens to taint their meticulously constructed 'mysterious' worlds. But by doing so, they are also rejecting their symbolic imprinting and some powerful Keys to unlocking their personal history." It is also difficult to separate Nine Inch Nails from the commercialisation and colossal money-making machine that inevitably ensued on the MTV tour circuit: do we blame Michael Trent Reznor because most of his audience are unlikely to be familiar with 'first-wave' industrial bands including Cabaret Voltaire and the experiments of Genesis P. Orridge in Throbbing Gristle? Do we accuse Reznor of being a plagiarist just because he wears some of his influences -- Dr. Dre, Daft Punk, Atari Teenage Riot, Pink Floyd's The Wall (1979), Tom Waits's Bone Machine (1992), David Bowie's Low (1977) -- on his sleeve? And do we accept no-brain rock critic album reviews who quote lines like 'All the pieces didn't fit/Though I really didn't give a shit' ("Where Is Everybody?") or 'And when I suck you off/Not a drop will go to waste' ("Starfuckers Inc") as representative of his true personality? Reznor evidently has his own thoughts on this subject, but we should let the music speak for itself. The album's epic production and technical complexity turned into a post-modern studio Vision Quest, assisted by producer Alan Moulder, eleventh-hour saviour Bob Ezrin (brought in by Reznor to 'block-out' conceptual and sonic continuity), and a group of assault-technicians. The fruit of these collaborations is an album where Reznor is playing with our organism's time-binding sense, modulating strange emotions through deeply embedded tonal angularities. During his five-year absence, Trent Reznor fought diverse forms of repetitious trauma, from endogenous depression caused by endless touring to the death of his beloved grandmother (who raised him throughout childhood). An end signals a new beginning, a spiral is an open-ended and ever-shifting structure, and so Reznor sought to re-discover the Elder Gods within, a shamanic approach to renewal and secular salvation utilised most effectively by music PR luminary and scientist Howard Bloom. Concerned with healing the human animal through Ordeals that hard-wire the physiological baselines of Love, Hate and Fear, Reznor also focusses on what happens when 'meaning-making' collapses and hope for the future cannot easily be found. He accurately captures the confusion that such dissolution of meaning and decline of social institutions brings to the world -- Francis Fukuyama calls this bifurcation 'The Great Disruption'. For a generation who experienced their late childhood and early adolescence in Reagan's America, Reznor and his influences (Marilyn Manson and Filter) capture the Dark Side of recent history, unleashed at Altamont and mutating into the Apocalyptic style of American politics (evident in the 'Star Wars'/SDI fascination). The personal 'psychotic core' that was crystallised by the collapse of the nuclear family unit and supportive social institutions has returned to haunt us with dystopian fantasies that are played out across Internet streaming media and visceral MTV film-clips. That such cathartic releases are useful -- and even necessary (to those whose lives have been formed by socio-economic 'life conditions') is a point that escapes critics like Roger Scruton, some Christian Evangelists and the New Right. The 'escapist' quality of early 1980s 'Rapture' and 'Cosmocide' (Hal Lindsey) prophecies has yielded strange fruit for the Children of Ezekiel, whom Reznor and Marilyn Manson are unofficial spokes-persons for. From a macro perspective, Reznor's post-human evolutionary nexus lies, like J.G. Ballard's tales, in a mythical near-future built upon past memory-shards. It is the kind of worldview that fuses organic and morphogenetic structures with industrial machines run amok, thus The Fragile is an artefact that captures the subjective contents of the different mind produced by different times. Sonic events are in-synch but out of phase. Samples subtly trigger and then scramble kinaesthetic-visceral and kinaesthetic-tactile memories, suggestive of dissociated affective states or body memories that are incapable of being retrieved (van der Kolk 294). Perhaps this is why after a Century of Identity Confusion some fans find it impossible to listen to a 102-minute album in one sitting. No wonder then that the double album is divided into 'left' and 'right' discs (a reference to split-brain research?). The real-time track-by-track interpretation below is necessarily subjective, and is intended to serve as a provisional listener's guide to the aural ur-text of 1999. The Fragile is full of encrypted tones and garbled frequencies that capture a world where the future is always bleeding into a non-recoverable past. Turbulent wave-forms fight for the listener's attention with prolonged static lulls. This does not make for comfortable or even 'nice' listening. The music's mind is a snapshot, a critical indicator, of the deep structures brewing within the Weltanschauung that could erupt at any moment. "Somewhat Damaged" opens the album's 'Left' disc with an oscillating acoustic strum that anchor's the listener's attention. Offset by pulsing beats and mallet percussion, Reznor builds up sound layers that contrast with lyrical epitaphs like 'Everything that swore it wouldn't change is different now'. Icarus iconography is invoked, but perhaps a more fitting mythopoeic symbol of the journey that lies ahead would be Nietzsche's pursuit of his Ariadne through the labyrinth of life, during which the hero is steadily consumed by his numbing psychosis. Reznor fittingly comments: 'Didn't quite/Fell Apart/Where were you?' If we consider that Reznor has been repeating the same cycle with different variations throughout all of his music to date, retro-fitting each new album into a seamless tapestry, then this track signals that he has begun to finally climb out of self-imposed exile in the Underworld. "The Day the World Went Away" has a tremendously eerie opening, with plucked mandolin effects entering at 0:40. The main slashing guitar riff was interpreted by some critics as Reznor's attempt to parody himself. For some reason, the eerie backdrop and fragmented acoustic guitar strums recalls to my mind civil defence nuclear war films. Reznor, like William S. Burroughs, has some powerful obsessions. The track builds up in intensity, with a 'Chorus of the Damned' singing 'na na nah' over apocalyptic end-times imagery. At 4:22 the track ends with an echo that loops and repeats. "The Frail" signals a shift to mournful introspectiveness with piano: a soundtrack to faded 8 mm films and dying memories. The piano builds up slowly with background echo, holds and segues into ... "The Wretched", beginning with a savage downbeat that recalls earlier material from Pretty Hate Machine. 'The Far Aways/Forget It' intones Reznor -- it's becoming clear that despite some claims to the contrary, there is redemption in this album, but it is one borne out of a relentless move forward, a strive-drive. 'You're finally free/You could be' suggest Reznor studied Existentialism during his psychotherapy visits. This song contains perhaps the ultimate post-relationship line: 'It didn't turn out the way you wanted it to, did it?' It's over, just not the way you wanted; you can always leave the partner you're with, but the ones you have already left will always stain your memories. The lines 'Back at the beginning/Sinking/Spinning' recall the claustrophobic trapped world and 'eternal Now' dislocation of Post-Traumatic Stress Disorder victims. At 3:44 a plucked cello riff, filtered, segues into a sludge buzz-saw guitar solo. At 5:18 the cello riff loops and repeats. "We're in This Together Now" uses static as percussion, highlighting the influence of electricity flows instead of traditional rock instrument configurations. At 0:34 vocals enter, at 1:15 Reznor wails 'I'm impossible', showing he is the heir to Roger Waters's self-reflective rock-star angst. 'Until the very end of me, until the very end of you' reverts the traditional marriage vow, whilst 'You're the Queen and I'm the King' quotes David Bowie's "Heroes". Unlike earlier tracks like "Reptile", this track is far more positive about relationships, which have previously resembled toxic-dyads. Reznor signals a delta surge (breaking through barriers at any cost), despite a time-line morphing between present-past-future. At 5:30 synths and piano signal a shift, at 5:49 the outgoing piano riff begins. The film-clip is filled with redemptive water imagery. The soundtrack gradually gets more murky and at 7:05 a subterranean note signals closure. "The Fragile" is even more hopeful and life-affirming (some may even interpret it as devotional), but this love -- representative of the End-Times, alludes to the 'Glamour of Evil' (Nico) in the line 'Fragile/She doesn't see her beauty'. The fusion of synths and atonal guitars beginning at 2:13 summons forth film-clip imagery -- mazes, pageants, bald eagles, found sounds, cloaked figures, ruined statues, enveloping darkness. "Just like You Imagined" opens with Soundscapes worthy of Robert Fripp, doubled by piano and guitar at 0:39. Drums and muffled voices enter at 0:54 -- are we seeing a pattern to Reznor's writing here? Sonic debris guitar enters at 1:08, bringing forth intensities from white noise. This track is full of subtle joys like the 1:23-1:36 solo by David Bowie pianist Mike Garson and guitarist Adrian Belew's outgoing guitar solo at 2:43, shifting back to the underlying soundscapes at 3:07. The sounds are always on the dissipative edge of chaos. "Just like You Imagined" opens with Soundscapes worthy of Robert Fripp, doubled by piano and guitar at 0:39. Drums and muffled voices enter at 0:54 -- are we seeing a pattern to Reznor's writing here? Sonic debris guitar enters at 1:08, bringing forth intensities from white noise. This track is full of subtle joys like the 1:23-1:36 solo by David Bowie pianist Mike Garson and guitarist Adrian Belew's outgoing guitar solo at 2:43, shifting back to the underlying soundscapes at 3:07. The sounds are always on the dissipative edge of chaos. "Pilgrimage" utilises a persistent ostinato and beat, with a driving guitar overlay at 0:18. This is perhaps the most familiar track, using Reznor motifs like the doubling of the riff with acoustic guitars between 1:12-1:20, march cries, and pitch-shift effects on a 3:18 drumbeat/cymbal. Or at least I could claim it was familiar, if it were not that legendary hip-hop producer and 'edge-of-panic' tactilist Dr. Dre helped assemble the final track mix. "No, You Don't" has been interpreted as an attack on Marilyn Manson and Hole's Courntey Love, particularly the 0:47 line 'Got to keep it all on the outside/Because everything is dead on the inside' and the 2:33 final verse 'Just so you know, I did not believe you could sink so low'. The song's structure is familiar: a basic beat at 0:16, guitars building from 0:31 to sneering vocals, a 2:03 counter-riff that merges at 2:19 with vocals and ascending to the final verse and 3:26 final distortion... "La Mer" is the first major surprise, a beautiful and sweeping fusion of piano, keyboard and cello, reminiscent of Symbolist composer Debussy. At 1:07 Denise Milfort whispers, setting the stage for sometime Ministry drummer Bill Reiflin's jazz drumming at 1:22, and a funky 1:32 guitar/bass line. The pulsing synth guitar at 2:04 serves as anchoring percussion for a cinematic electronica mindscape, filtered through new layers of sonic chiaroscuro at 2:51. 3:06 phase shifting, 3:22 layer doubling, 3:37 outgoing solo, 3:50-3:54 more swirling vocal fragments, seguing into a fading cello quartet as shadows creep. David Carson's moody film-clip captures the end more ominously, depicting the beauty of drowning. This track contains the line 'Nothing can stop me now', which appears to be Reznor's personal mantra. This track rivals 'Hurt' and 'A Warm Place' from The Downward Spiral and 'Something I Can Never Have' from Pretty Hate Machine as perhaps the most emotionally revealing and delicate material that Reznor has written. "The Great Below" ends the first disc with more multi-layered textures fusing nostalgia and reverie: a twelve-second cello riff is counter-pointed by a plucked overlay, which builds to a 0:43 washed pulse effect, transformed by six second pulses between 1:04-1:19 and a further effects layer at 1:24. E-bow effects underscore lyrics like 'Currents have their say' (2:33) and 'Washes me away' (2:44), which a 3:33 sitar riff answers. These complexities are further transmuted by seemingly random events -- a 4:06 doubling of the sitar riff which 'glitches' and a 4:32 backbeat echo that drifts for four bars. While Reznor's lyrics suggest that he is unable to control subjective time-states (like The Joker in the Batman: Dark Knight series of Kali-yuga comic-books), the track constructions show that the Key to his hold over the listener is very carefully constructed songs whose spaces resemble Pythagorean mathematical formulas. Misdirecting the audience is the secret of many magicians. "The Way Out Is Through" opens the 'Right' disc with an industrial riff that builds at 0:19 to click-track and rhythm, the equivalent of a weaving spiral. Whispering 'All I've undergone/I will keep on' at 1:24, Reznor is backed at 1:38 by synths and drums coalescing into guitars, which take shape at 1:46 and turn into a torrential electrical current. The models are clearly natural morphogenetic structures. The track twists through inner storms and torments from 2:42 to 2:48, mirrored by vocal shards at 2:59 and soundscapes at 3:45, before piano fades in and out at 4:12. The title references peri-natal theories of development (particularly those of Stanislav Grof), which is the source of much of the album's imagery. "Into the Void" is not the Black Sabbath song of the same name, but a catchy track that uses the same unfolding formula (opening static, cello at 0:18, guitars at 0:31, drums and backbeat at 1:02, trademark industrial vocals and synth at 1:02, verse at 1:23), and would not appear out of place in a Survival Research Laboratories exhibition. At 3:42 Reznor plays with the edge of synth soundscapes, merging vocals at 4:02 and ending the track nicely at 4:44 alone. "Where Is Everybody?" emulates earlier structures, but relies from 2:01 on whirring effects and organic rhythms, including a flurry of eight beat pulses between 2:40-2:46 and a 3:33 spiralling guitar solo. The 4:26 guitar solo is pure Adrian Belew, and is suddenly ended by spluttering static and white noise at 5:13. "The Mark Has Been Made" signals another downshift into introspectiveness with 0:32 ghostly synth shimmers, echoed by cello at 1:04 which is the doubled at 1:55 by guitar. At 2:08 industrial riffs suddenly build up, weaving between 3:28 distorted guitars and the return of the repressed original layer at 4:16. The surprise is a mystery 32 second soundscape at the end with Reznor crooning 'I'm getting closer, all the time' like a zombie devil Elvis. "Please" highlights spacious noise at 0:48, and signals a central album motif at 1:04 with the line 'Time starts slowing down/Sink until I drown'. The psychic mood of the album shifts with the discovery of Imagination as a liberating force against oppression. The synth sound again is remarkably organic for an industrial album. "Starfuckers Inc" is the now infamous sneering attack on rock-stardom, perhaps at Marilyn Manson (at 3:08 Reznor quotes Carly Simon's 'You're So Vain'). Jungle beats and pulsing synths open the track, which features the sound-sculpting talent of Pop Will Eat Itself member Clint Mansell. Beginning at 0:26, Reznor's vocals appear to have been sampled, looped and cut up (apologies to Brion Gysin and William S. Burroughs). The lines 'I have arrived and this time you should believe the hype/I listened to everyone now I know everyone was right' is a very savage and funny exposure of Manson's constant references to Friedrich Nietzsche's Herd-mentality: the Herd needs a bogey-man to whip it into submission, and Manson comes dangerous close to fulfilling this potential, thus becoming trapped by a 'Stacked Deck' paradox. The 4:08 lyric line 'Now I belong I'm one of the Chosen Ones/Now I belong I'm one of the Beautiful Ones' highlights the problem of being Elect and becoming intertwined with institutionalised group-think. The album version ditches the closing sample of Gene Simmons screaming "Thankyou and goodnight!" to an enraptured audience on the single from KISS Alive (1975), which was appropriately over-the-top (the alternate quiet version is worth hearing also). "The danger Marilyn Manson faces", notes Don Webb (current High Priest of the Temple of Set), "is that he may end up in twenty years time on the 'Tonight Show' safely singing our favourite songs like a Goth Frank Sinatra, and will have gradually lost his antinomian power. It's much harder to maintain the enigmatic aura of an Evil villain than it is to play the clown with society". Reznor's superior musicianship and sense of irony should keep him from falling into the same trap. "Complication" juggernauts in at 0:57 with screaming vocals and a barrage of white noise at 1:56. It's clear by now that Reznor has read his psychological operations (PSYOP) manuals pertaining to blasting the hell out of his audiences' psyche by any means necessary. Computer blip noise and black light flotation tank memories. Dislocating pauses and time-bends. The aural equivalent of Klein bottles. "Complication" juggernauts in at 0:57 with screaming vocals and a barrage of white noise at 1:56. It's clear by now that Reznor has read his psychological operations (PSYOP) manuals pertaining to blasting the hell out of his audiences' psyche by any means necessary. Computer blip noise and black light flotation tank memories. Dislocating pauses and time-bends. The aural equivalent of Klein bottles. "The Big Come Down" begins with a four-second synth/static intro that is smashed apart by a hard beat at 0:05 and kaleidoscope guitars at 0:16. Critics refer to the song's lyrics in an attempt to project a narcissistic Reznor personality, but don't comment on stylistic tweaks like the AM radio influenced backing vocals at 1:02 and 1:19, or the use of guitars as a percussion layer at 1:51. A further intriguing element is the return of the fly samples at 2:38, an effect heard on previous releases and a possible post-human sub-text. The alien mythos will eventually reign over the banal and empty human. At 3:07 the synths return with static, a further overlay adds more synths at 3:45 as the track spirals to its peak, before dissipating at 3:1 in a mesh of percussion and guitars. "Underneath It All" opens with a riff that signals we have reached the album's climatic turning point, with the recurring theme of fragmenting body-memories returning at 0:23 with the line 'All I can do/I can still feel you', and being echoed by pulsing static at 0:42 as electric percussion. A 'Messiah Complex' appears at 1:34 with the line 'Crucify/After all I've died/After all I've tried/You are still inside', or at least it appears to be that on the surface. This is the kind of line that typical rock critics will quote, but a careful re-reading suggests that Reznor is pointing to the painful nature of remanifesting. Our past shapes us more than we would like to admit particularly our first relationships. "Ripe (With Decay)" is the album's final statement, a complex weaving of passages over a repetitive mesh of guitars, pulsing echoes, back-beats, soundscapes, and a powerful Mike Garson piano solo (2:26). Earlier motifs including fly samples (3:00), mournful funeral violas (3:36) and slowing time effects (4:28) recur throughout the track. Having finally reached the psychotic core, Reznor is not content to let us rest, mixing funk bass riffs (4:46), vocal snatches (5:23) and oscillating guitars (5:39) that drag the listener forever onwards towards the edge of the abyss (5:58). The final sequence begins at 6:22, loses fidelity at 6:28, and ends abruptly at 6:35. At millennium's end there is a common-held perception that the world is in an irreversible state of decay, and that Culture is just a wafer-thin veneer over anarchy. Music like The Fragile suggests that we are still trying to assimilate into popular culture the 'war-on-Self' worldviews unleashed by the nineteenth-century 'Masters of Suspicion' (Charles Darwin, Sigmund Freud, Friedrich Nietzsche). This 'assimilation gap' is evident in industrial music, which in the late 1970s was struggling to capture the mood of the Industrial Revolution and Charles Dickens, so the genre is ripe for further exploration of the scarred psyche. What the self-appointed moral guardians of the Herd fail to appreciate is that as the imprint baseline rises (reflective of socio-political realities), the kind of imagery prevalent throughout The Fragile and in films like Strange Days (1995), The Matrix (1999) and eXistenZ (1999) is going to get even darker. The solution is not censorship or repression in the name of pleasing an all-saving surrogate god-figure. No, these things have to be faced and embraced somehow. Such a process can only occur if there is space within for the Sadeian aesthetic that Nine Inch Nails embodies, and not a denial of Dark Eros. "We need a second Renaissance", notes Don Webb, "a rejuvenation of Culture on a significant scale". In other words, a global culture-shift of quantum (aeon or epoch-changing) proportions. The tools required will probably not come just from the over-wordy criticism of Cyber-culture and Cultural Studies or the logical-negative feeding frenzy of most Music Journalism. They will come from a dynamic synthesis of disciplines striving toward a unity of knowledge -- what socio-biologist Edward O. Wilson has described as 'Consilience'. Liberating tools and ideas will be conveyed to a wider public audience unfamiliar with such principles through predominantly science fiction visual imagery and industrial/electronica music. The Fragile serves as an invaluable model for how such artefacts could transmit their dreams and propagate their messages. For the hyper-alert listener, it will be the first step on a new journey. But sadly for the majority, it will be just another hysterical industrial album promoted as selection of the month. References Bester, Alfred. The Stars My Destination. London: Millennium Books, 1999. Eshun, Kodwo. More Brilliant than the Sun: Adventures in Sonic Fiction. London: Quartet Books, 1998. Van der Kolk, Bessel A. "Trauma and Memory." Traumatic Stress: The Effects of Overwhelming Experience on Mind, Body, and Society. Eds. Bessel A. van der Kolk et al. New York: Guilford Press, 1996. Nine Inch Nails. Downward Spiral. Nothing/Interscope, 1994. ---. The Fragile. Nothing, 1999. ---. Pretty Hate Machine. TVT, 1989. Citation reference for this article MLA style: Alex Burns. "'This Machine Is Obsolete': A Listeners' Guide to Nine Inch Nails' The Fragile." M/C: A Journal of Media and Culture 2.8 (1999). [your date of access] <http://www.uq.edu.au/mc/9912/nine.php>. Chicago style: Alex Burns, "'This Machine Is Obsolete': A Listeners' Guide to Nine Inch Nails' The Fragile," M/C: A Journal of Media and Culture 2, no. 8 (1999), <http://www.uq.edu.au/mc/9912/nine.php> ([your date of access]). APA style: Alex Burns. (1999) 'This machine is obsolete': a listeners' guide to Nine Inch Nails' The fragile. M/C: A Journal of Media and Culture 2(8). <http://www.uq.edu.au/mc/9912/nine.php> ([your date of access]).

Interaction is described as a way to persuade citizens through direct contact allowing for a dialogical encounter between political actors and citizens (Magin, Podschuweit, Haßler, & Russmann, 2017). Although the new online environment can facilitate direct communication between politicians and citizens, empirical findings indicate that, to date, a unidirectional communication style between voters and politicians predominates (Jackson & Lilleker, 2010; Lilleker & Koc-Michalska, 2013; Stromer-Galley, 2000). To a large extent, politicians still employ the broadcasting style for campaign communication (Graham, Broersma, Hazelhoff, & van 't Haar, 2013) and retain communication strategies from the mass media era (Margolis & Resnick, 2000), as few voters visit their websites on a regular basis (Gibson & McAllister, 2011) or follow politicians' profiles on social media (Vaccari & Nielsen, 2013). However, research in campaign communication also shows that the Web 2.0 provide new opportunities for politicians to address an expanded, new electorate and engage them. As an example, studies show that posts that are frequently liked, commented, or shared can reach a much wider circle of users known as secondary audience or second-degree followers (Jacobs & Spierings, 2016; Vaccari & Valeriani, 2015). Interaction through social media channels furthermore enables face-to-face-like communication with individual voters, with whom politicians can also exchange ideas and negotiate campaign strategies (Magin et al., 2017). Field of application/theoretical foundation: In recent years, interaction has been recognized as a central aspect of dialogical communication in the field of public relations (Sweetser & Lariscy, 2008; Taylor & Kent, 2004). The theory states that symmetrical and dialogical two-way communication between an organization and its audience can sustainably support relationship building and their maintenance (Zhang & Seltzer, 2010). By applying this approach to the field of online political communication, it is possible to understand the interactions between politicians and citizens as a form of strategic communication and how they attract and persuade voters. References/combination with other methods of data collection Interaction in the last twenty years has been mostly studied in the context of the online environment either by looking at structural features of candidates’ online tools that enable interactions with users (e.g., Druckman, Kifer, & Parkin, 2007, 2009; Schweitzer, 2008); or by studying actual interactions between candidates and citizens on social media (e.g., Graham et al., 2013; Klinger, 2013). Both quantitative manual and automated content analyses thereof have been employed to in research on social media interactions). Quantitative content analysis have been also been combined and compared with qualitative interviews with campaign managers (e.g., Magin et al., 2017). Example studies Table 1: Overview exemplary studies measuring interaction, discussion, participation, and related constructs Study Medium Constructs Operationalization Coding Druckman et al. (2007); Druckman et al. (2009) Candidate websites Interactivity Web sites were scrutinized in light of their ability to create someform of interaction by e.g.enabling users to personalize information, arrange information, add information, and/or communicate with other voters and/or the candidate Additive index Schweitzer (2008) Candidate websites Interactivity provision strategies Possibility to comment on news; Agenda can be updated by visitors; A channel on video sharing websites; Possibility to comment (a video sharing website); Life webcam; Online photo gallery; Possibility to comment (online photo gallery); Easy contact; Online polls; Profile on SNS; Online forum or chat (among visitors); Online forum or chat (with politicians); Possibility to share content of the website; Possibility to share content on social media; Information about political program (interactive format) Additive index Magin et al. (2017) Facebook posts Interaction Index including (1) number of parties’ comments, (2) the number of users’ comments per 1,000,000 eligible voters, and (3) the share of posts in which the parties encourage the voters to discuss politics on the parties’ Facebook page (reciprocity). Combined index Graham et al. (2013), Graham, Jackson, & Broersma (2016) Twitter posts Interaction Tweets including: Debating/position taking; Acknowledging; Organizing/mobilizing; Advice giving/helping; and/or Consulting Furthermore @Tweets were scrutinized with whom politicians interacted: Public; Politician/candidate; journalist/media; Party activist; Lobbyist; Expert; Celebrity; Industry; and/or Authority (0) Not present (1) Present Lukamto & Carson (2016) Twitter comments, @mentions, and retweets (RTs) Discussion Measures quantity of one-way and two-way messages between members of parliament (MPs) and citizens and who they interact with: ‘citizen to politician’; ‘politician to citizen’; or ‘politician to politician’ Count variable Bene (2017) Facebook posts Engagement Engagement content is coded if the post contains either requests for likes, comments, and/or sharing or whether it poses a question. All of these individual elements were also coded on their own and analyzed in specified models with all dependent variables (0) Not present (1) Present Klinger (2013) Facebook & Twitter posts Participation Posts including calls for discussion, appeals to collect signatures and mobilize other people to participate and to vote as well as general community-building (0) Not present (1) Present Keller & Kleinen-von Königslöw (2018) Facebook & Twitter posts Pseudo discursive style (0) Not present (1) Present Graham et al. (2013), Graham et al. (2016) Twitter posts Interaction Tweets including: Debating/position taking; Acknowledging; Organizing/mobilizing; Advice giving/helping; and/or Consulting @Tweets were also scrutinized with whom politicians interacted: Public; Politician/candidate; journalist/media; Party activist; Lobbyist; Expert; Celebrity; Industry; and/or Authority (0) Not present (1) Present References Bene, M. (2017). Go Viral on the Facebook! Interactions between Candidates and Followers on Facebook during the Hungarian General Election Campaign of 2014. Information, Communication & Society, 20(4), 513–529. https://doi.org/10.1080/1369118X.2016.1198411 Druckman, J. N., Kifer, M. J., & Parkin, M. (2007). The Technological Development of Congressional Candidate Web Sites. Social Science Computer Review, 25(4), 425–442. https://doi.org/10.1177/0894439307305623 Druckman, J. N., Kifer, M. J., & Parkin, M. (2009). Campaign Communications in U.S. Congressional Elections. American Political Science Review, 103(3), 343–366. https://doi.org/10.1017/S0003055409990037 Gibson, R. K., & McAllister, I. (2011). Do online election campaigns win votes? The 2007 Australian “YouTube” election. Political Communication, 28(2), 227–244. Graham, T., Broersma, M., Hazelhoff, K., & van 't Haar, G. (2013). Between Broadcasting Political Messages and Interacting with Voters. Information, Communication & Society, 16(5), 692–716. https://doi.org/10.1080/1369118X.2013.785581 Graham, T., Jackson, D., & Broersma, M. (2016). New Platform, Old Habits? Candidates’ Use of Twitter during the 2010 British and Dutch General Election Campaigns. New Media & Society, 18(5), 765–783. https://doi.org/10.1177/1461444814546728 Jackson, N., & Lilleker, D. G. (2010). Tentative Steps towards Interaction. Internet Research, 20(5), 527–544. https://doi.org/10.1108/10662241011084103 Jacobs, K., & Spierings, N. (2016). Social Media, Parties, and Political Inequalities. New York: Palgrave Macmillan US. https://doi.org/10.1057/9781137533906 Keller, T. R., & Kleinen-von Königslöw, K. (2018). Pseudo-Discursive, Mobilizing, Emotional, and Entertaining: Identifying Four Successful Communication Styles of Political Actors on Social Media during the 2015 Swiss National Elections. Journal of Information Technology & Politics, 15(4), 358–377. https://doi.org/10.1080/19331681.2018.1510355 Klinger, U. (2013). Mastering the Art of Social Media. Information, Communication & Society, 16(5), 717–736. https://doi.org/10.1080/1369118X.2013.782329 Lilleker, D. G., & Koc-Michalska, K. (2013). Online Political Communication Strategies: MEPs, E-Representation, and Self-Representation. Journal of Information Technology & Politics, 10(2), 190–207. https://doi.org/10.1080/19331681.2012.758071 Lukamto, W., & Carson, A. (2016). Politweets: Social Media as a Platform for Political Engagement between Victorian Politicians and Citizens. Communication Research and Practice, 2(2), 191–212. https://doi.org/10.1080/22041451.2016.1186485 Magin, M., Podschuweit, N., Haßler, J., & Russmann, U. (2017). Campaigning in the Fourth Age of Political Communication. A Multi-Method Study on the Use of Facebook by German and Austrian Parties in the 2013 National Election Campaigns. Information, Communication & Society, 20(11), 1698–1719. https://doi.org/10.1080/1369118X.2016.1254269 Margolis, M., & Resnick, D. (2000). Politics as Usual: The Cyberspace "Revolution". Contemporary American politics. Thousand Oaks: Sage. Schweitzer, E. J. (2008). Innovation or Normalization in E-Campaigning? European Journal of Communication, 23(4), 449–470. https://doi.org/10.1177/0267323108096994 Stromer-Galley, J. (2000). On-line Interaction and Why Candidates Avoid It. Journal of Communication, 50(4), 111–132. Sweetser, K. D., & Lariscy, R. W. (2008). Candidates make good friends: An analysis of candidates' uses of Facebook. International Journal of Strategic Communication, 2(3), 175–198. Taylor, M., & Kent, M. L. (2004). Congressional web sites and their potential for public dialogue. Atlantic Journal of Communication, 12(2), 59–76. Vaccari, C., & Nielsen, R. K. (2013). What drives politicians' online popularity? An analysis of the 2010 US midterm elections. Journal of Information Technology & Politics, 10(2), 208–222. Vaccari, C., & Valeriani, A. (2015). Follow the leader! Direct and indirect flows of political communication during the 2013 Italian general election campaign. New Media & Society, 17(7), 1025–1042. https://doi.org/10.1177/1461444813511038 Zhang, W., & Seltzer, T. (2010). Another piece of the puzzle: Advancing social capital theory by examining the effect of political party relationship quality on political and civic participation. International Journal of Strategic Communication, 4(3), 155–170.

One might rightly think that the first female television chief executive in Australia, Maureen Plavsic, would have some important and useful advice and words of wisdom about what being successful in business involves. Apparently, Ms Plavsic considers being 'passionate' about what you do is central to being successful in contemporary business practice (Kitney 26). At first glance, this might seem a perfectly natural contemporary way to talk. The purpose of this paper is to step back from that idea of 'passion' as a driver of contemporary practice and to consider how it became inevitable that the passionless manager or employee is a failed species. I argue that emotion, and passion, as heightened emotion, have come to play a newly understood role in our work lives. There are various identifiable mechanisms, in any specific historical period, that produce ways of thinking about appropriate behaviour for groups such as managers. Foucault ("Governmentality") has described this specification as a form of governmentalisation of the population. They are targeted in various ways, in relation to how they should 'feel' at work (http://home.iprimus.com.au/panopticon1/). This includes through advertisements selling communication skills for managers, in training manuals, through training courses, in management books, professional journals and self-help books, and through organisational practices such as the development of 'human' resource departments. Numerous academics, including Hochschild, Mumby and Putnam, Fineman, and Tracy have also taken considerable interest in the way emotion has come to play such as important part in work-life. They, too, have contributed significantly to legitimising new ways to think about the heart and its place in business. Through knowing and enacting or even resisting the broad range of discourses circulating around these ideas, individuals produce themselves 'as a work of art' (Foucault, "On the Genealogy"; "Technologies"). Indeed,Foucault insists that the production of the self should be understoodas 'a creative activity' (Foucault, "On the Genealogy" 351). The body is continually 'finely tuned', constructed, and reconstructed as a 'performing self' (Schilling 35) through the constitution of knowledge about what is appropriate for the managerial identity. This notion of identity, as a work of art, is used in this paper, following Hall, to suggest 'the meeting point, the point of suture,between, on the one hand, the discourses which attempt to "interpellate", speak to us or hail us into place as subjects of particular discourses, and on the other, the processes which produce subjectivities, which construct us as subjects which can be "spoken" ' (5-6). By taking this social and discursive perspective on 'passion', as heightened emotion, it is possible to understand some of the processes by which passion has come to be thought about as 'corporate capital'. What are the some of the key discursive practices that achieve this identity? One interesting package that may well have produced Maureen Plavsic's response about 'being passionate' comes in the form of the idea of 'emotional capital'. The term has some resonances with other familiar descriptors, including the relationship between women and emotion. However, it directly recalls two different sets of contemporary knowledge about good managers: the idea of 'emotional intelligence' and the centrality of 'capital' in various forms of good business practice. I will briefly unpack each of these two ideas below. The idea of emotional intelligence, popularised by Goleman, is 'hot', both in education and in business (http://www.mngt.ac.nz/ejrot/). Throughout the world, government reports and training programs are tapping into cognitive psychologists' discoveries that successful people and companies become so because they bring their 'heart' to work, not just their heads. The language of emotional intelligence has entered everyday language from newspaper reports to professional development journals. Self-help specialist Daniel Goleman uses the authority of the academic discipline of cognitive psychology to re-present the emotions as 'a different kind of intelligence' (36) and to signify their relationship to other forms of intelligence. He uses Gardner's 1993 book on multiple intelligences to claim that interpersonal and intrapersonal intelligence are the keys to self-knowledge and other-knowledge (Cited in Goleman, 39) and that what individuals can achieve is 'appropriate' emotion (56) if they can name and use emotion properly. Goleman provides a rationale for the changing valorisation of the emotions, giving EQ an equal significance with IQ, describing emotional intelligence as a 'master' aptitude, one that 'affects all other abilities, either facilitating or interfering with them' (80). More recently, communication guru Kevin Thomson has provided carefully elaborated strategies for achieving the idealised state of Passion at Work. In this book and his companion text Emotional Capital, he argues for the role of emotional capital as central to business success. The elision of two relatively stable and legitimate discourses of the idea of 'capital' and 'emotional intelligence' is a clever rhetorical move. He links emotional capital directly to the idea of intellectual capital. Contemporary obsession with the new technologies and the developing new economy, based on service, has led to renewed interest in the storage and use of organisational knowledge as a form of intellectual capital, as Drucker rightly forecast. By drawing together the resources of this meaning for 'capital' and 'emotion', Thomson's term has considerable respectability and appeal for business. Eliding the idea of intellectual capital and intellectual property further strengthens this. This issue of ownership will be commented on in the latter part of the paper. Thomson goes on to argue, in Emotional Capital, that emotional capital is the 'fuel to fire your intellectual capital' (6). This emotional capital is 'begging to be valued as brand and corporate capital' (6). Legitimising strategies such as these make the idea of emotion and the more specific instrumentalisation of passion very attractive to managers looking for success in their work. Thomson offers simple, accessible promises for success based on these ideas. In 'Six Secrets for Personal Success' he suggests, again and again, that passion is the key. The final chapter puts this idea in perspective. It is called the 'Passion Pack: The 'How to' Mobilise Hearts and Minds and Generate Buy-in to Change' (169-211). This section contains a set of 'practical tools' to 'arouse your desire' to be passionate (170). A writer, like Thomson, has the capacity to be very influential. He was President of the International Association of Business Communicators (with a worldwide membership of 40 000) in 1998-1999, contributes regularly to professional journals, and works the speaking circuit. Just like Tom Peters before him, the capacity of persuasive management 'gurus' to put a spin on ideas combines with the important discursive moves made by other more powerful capacities to speak. These moves include the pronouncements of academics, including psychologists, educators, and governments, who are all looking for ways to shape up the population for own their various agendas. The capacity for 'naming' emotions, such as 'being passionate', has been identified as a characteristic of training programs and therapy approaches to communication training throughout the world, by researchers such as Cameron. Naming plays a critical part in developing and promoting emotional capital. This capacity allows and encourages fine-grained work on the self. However, it also puts a new spin on the relationship between managers and their organisations. Rather than to imagine emotions in the 'private' domain, it is now much more acceptable to manage the public heart of the manager. The instrumentalisation of emotion encourages on-going fine-tuning of behaviours and feelings in oganisations. What's more, managers themselves can opt to be trained by psychologists and communication specialists in learning to name and direct or redirect their previously unmanageable and often 'unwanted' emotional lives towards more productive work, as this now contributes to the emotional capital of the organisation. This emotional capital can contribute, alongside the intellectual and financial capital, to the success of the business. Maureen Plavsic's interview demonstrates that, at least at the very top of business, her intellectual/emotional property is not contested. For such a successful CEO, maybe the payoffs are good enough for her to make the creative move of reconstituting her identity in line with such demands. It remains to be seen how successful such moves will be in wooing managers further down the organisation. However, the governance of the population operates, not solely through its repressive capacities, but also through the seduction that images like 'emotional capital' conjure up for managers. If they enrol for communication training programs, they are offered not only the capacity to master the 'master aptitude', but also they are told from many different discursive terrains that they will achieve guaranteed access to business success. Becoming corporate capital is increasingly hard to resist in the new work order. References Cameron, Deborah.Good to Talk?: Living and Working in a Communication Culture. London: Sage, 2000. Drucker, Peter. Managing for the Future. Oxford: Butterworth Heinemann, 1990. Fineman, Stephen. Emotions in Organizations. London: Sage, 1993. Foucault, Michel. Governmentality. The Foucault Effect.Eds. G. Burchell, C. Gordon, & P. Miller. London: Harvester Wheatsheaf, 1991. Foucault, Michel. "On the Genealogy of Ethics: An Overview of Work in Progress". 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Passion at Work. Oxford: Capstone, 1998. Thomson, Kevin. Emotional Capital. Oxford: Capstone, 1998. Tracy, Sarah. "Becoming a Character for Commerce". Management Communication Quarterly 14.1 (2001): 90-128. Links http://www.mngt.ac.nz/ejrot/ http://home.iprimus.com.au/panopticon1/ Citation reference for this article MLA Style Hatcher, Caroline. "Corporatising Character" M/C: A Journal of Media and Culture 4.5 (2001). [your date of access] < http://www.media-culture.org.au/0111/Hatcher1.xml >. Chicago Style Hatcher, Caroline, "Corporatising Character" M/C: A Journal of Media and Culture 4, no. 5 (2001), < http://www.media-culture.org.au/0111/Hatcher1.xml > ([your date of access]). APA Style Hatcher, Caroline. (2001) Corporatising Character. M/C: A Journal of Media and Culture 4(5). < http://www.media-culture.org.au/0111/Hatcher1.xml > ([your date of access]).