Journal articles on the topic 'Lecture video archives'

An unlikely idea became a reality in June 2019 when we gathered an enthusiastic group and started testing the platform & workflow by OJS/PKP thus turning an idea into something concrete. The next step would be choosing the name of the journal and creating the website. Finally, the choice of the national and international editorial board based on academic and scientific criteria. Archives of Pediatric Neurosurgery (APN) was born. We published the very first issue of the APN in September 2019. The decision was to use of the Internet and related technologies as an enabler and infrastructure for health innovations. The use of information and communication technologies and the web helps to empower patients (not least through peer-to-peer communications), provides a platform for communication, clinical information and telemedicine (these days often through mobile devices), and revolutionizes information access and medical education [1]. We were not only innovating on content, but also on form. We were the first open access electronic-only journal in pediatric neurosurgery, and also, we are on social media as Facebook, Instagram and tweeter. We have different types of publication highlighted the clinical case, video clinical case, and clinical video lecture. Our YouTube channel, together with SBNPed, has a total of 48 videos and more than a thousand inscriptions. The Archives of Pediatric Neurosurgery is a triannual peer-reviewed medical online journal and was recognized in September 2020 as the official publication of the Brazilian Society for Pediatric Neurosurgery. We believe APN will contribute in furthering efforts to make our dream a reality getting a pediatric neurosurgery medical journal to be recognize in the world as option to publish original papers, clinical case, video clinical case, and others. Some statistics related to APN: MOST DOWNLOADED PDF ARTICLE: Dezena et al. Anatomy of the ventricular system: Historical and morphological aspects MOST READ ABSTRACT: Furlanetti et al. Shunt Technology in Pediatric Neurosurgery: Current options and Scientific Evidence MOST CITED ARTICLE: de Oliveira RS, Ballestero MFM. The Covid-19 Outbreak and Pediatric Neurosurgery guidelines Submissions Received 112 In two years, APN has published 62 international peer-review medical journals in 5 issues from September, 2019 to August, 2021. All articles are available online and free license to open access and download. All the papers were peer-reviewed (Figure 1). During this period, we included a specialized consultancy and we were able to index the APN in several indexing bases: Google Scholar, Cengage, REDIB, Crossref, Dimensions, and the most recent J-Gate. On this special occasion the editorial office would like to extend their greatest appreciation to all editors, and reviewers who have been supportive, and devoted much of their time and effort in nurturing APN. The journal, in particular, would like to thank the authors for placing their faith in this new, bold journal when it was still in its beginning stages. This continuous support has been pivotal to the development of the journal. In the times to come, APN will remain committed to publishing novel, high-quality, and valuable content. APN endeavors to bring readers the most up-to-date information in a wide variety of fields in the hopes of ultimately benefiting patients, all while ensuring the largest possible readership for all articles published in the journal. In our modern globalized academic community, APN recognizes the importance of international collaborations, and seeks to promote itself as an international journal. We have organized a series of articles focusing on important topics in various fields, and invited international prominent experts to co-author. Based on data from Google Analytics, APN is gaining momentum and attracting interest from readers. The number of accesses to abstracts has been increasing progressively since 2019 (Figure 2). As Section Editors, they keep track of the latest and significant research in their areas and recommend international key opinion leaders to review and write editorial comments on those important topics. We will pursue the serious work and include the APN in more indexing databases, expanding its importance in pediatric neurosurgery. Yes, it's time to celebrate this incredible achievement! but continue the professional work. Happy Birthday Archives of Pediatric Neurosurgery! A long life for everyone!

This conversation is excerpted from a panel which followed Black Vibrations, a performance by DeForrest Brown Jr. and madison moore at the Institute for Contemporary Art at VCU (ICA at VCU, Richmond, Virginia) on 25 March 2022. Black Vibrations was the first of the ICA’s Test Pattern series, inspired by the legacy of visionary public-access TV programs and alternative video movements in the US. The series invites artists to turn the ICA auditorium into an experimental production studio for week-long residencies, during which they collaborate with members of the local community to create a live performance and internet broadcast. Black Vibrations considered the history of Detroit techno, and the potential of ‘vibrational technologies’ as an instrument and a weapon. madison moore presented a DJ set as a performative lecture, while Deforrest Brown Jr. performed live using tablets and other haptic technology, building upon his work as a cultural theorist and his musical output under the moniker Speaker Music. The performance transformed the ICA’s auditorium into a club environment, complete with subwoofers, dancefloor, hazers, and flashing lights. Video projections pulled from the archives of the Detroit Historical Society – b-roll of assembly lines, auto trades shows, and early ‘80s computer classes – as well as late-night footage from WGPR Detroit, America’s first Black-owned TV station, which helped to launch techno with the popular programs The Scene and The New Dance Show. Following the performance, DeForrest and madison were joined by scholar Alexander Ghedi Weheliye for a discussion about techno: its Black and working class origins, its connection to Queer dance music innovators, and the connection between protest and the dancefloor.

Archives are created in every institution large and small. College is one of the institutions that produces many archives of academic and administrative works. The archives created in universities need to be managed and stored so that they can be traced and utilized by the institution concerned and by other parties who need it. In line with this, Sanata Dharma University (USD) as the bearer of the Tri Dharma of Higher Education seeks to manage archives in all units at the university level. The management of the USD institutional archives is carried out by carrying out the mandate of the 2018-2022 USD RENSTRA, where the initial target for achievement is the 1993-2020 USD archives. Archival managers are expected to be able to collect and archive all USD institutional documents from 1955 s.d. 2020. Records management at the USD level is left to the USD Library.USD Library plans to carry out acquisitions/archive collection of units. This step was preceded by an online survey of records management in units, so that USD Libraries had an initial picture of archive management across all units in USD. This online survey was conducted using qualitative methods. The population in the survey is education staff, both permanent and non-permanent in USD, with a total of 376 people. The sample used in the survey is 76 people, the sample selection using convenience sampling technique.The survey results showed that there were 52 people who filled out the survey. The most types/subjects of archives owned by units in USD are curriculum archives (25 units), lectures (24 units) and student affairs (20 units). The largest media/archive form is print/paper (50 units), but most of the units have been digitized (43 units). Other archival media that are also owned by the unit are photos, souvenirs, compact disks, videos, digital video disks, blueprints, maps and technical drawings. The processing of unit archives in USD varies, both those that have been digitized (33 units), have been inventoried/recorded (25 units), have been numbered/coded (6 units), have been destroyed (2 units) to archives that have not been managed properly ( not yet digitized, not yet inventoried, not yet coded). There are archives that have been arranged in a filing cabinet/rack/file/order box (40 units), archives are organized by year/subject/alphabatic number (26 units). The majority of HR Archive Managers in all units do not have HR that specifically manages archives (48 units). The majority of archive borrowing is no archive loan. The majority of facilities/tools/software for archival tracing do not have facilities/tools/software for archival tracing (47 units). Permits for borrowing archives from units at Sanata Dharma University, the majority allowed borrowing archives (47 units). The majority of data collection/inventory of archive types to be borrowed from units at Sanata Dharma University answered that data collection/archive inventory was carried out by each unit to ensure the completeness and correctness of the archives to be borrowed (26 units). Static Archives Management and Storage at Sanata Dharma University answered that the USD Library only manages and stores digital archives and printed archives are stored in their respective units (29 units). The return of the static archives borrowed for processing by the USD Library, the majority answered that the printed static archives were returned to the unit (28 units).

Croatian Memorial Documentation Centre of the Homeland War is a specialized archives and a scientific institution with the mission to collect, arrange, safekeep, professionally and scientifically research and publish archival records from the Homeland War. Apart from these main tasks, the Centre also engages in educational activities by organizing and providing lectures for elementary school, high school, university students and history teachers or by the engagement of its employees at the universities. Speakers will present these activities by giving examples of various types of lectures and describing methodology and contents. The authors present the theory of archival pedagogy and its development in Croatia, as well as examples of good practice in the Croatian archives. In Croatia, in the last couple of years, special attention has been given to archival pedagogy as a potential for the development of archival activities and the modernization of the archives. The Croatian Archival Society has an important role in promoting archival pedagogy and it encourages archivists to participate in educational activities. The authors will present educational activities organized by the Croatian Memorial Documentation Centre of the Homeland War. The Centre aims to follow modern trends in archive pedagogy and education by combining its two main activities - archival practice and scientific research. Special emphasis is given to the use of various categories of the Centre’s archival materials, such as official records, printed material, audio recordings, photographic material, maps, etc. in the lectures. Besides paper records, the Centre has a large collection of digitalized documents which are particularly useful and convenient to use in the lectures. The materials from the Collection of photographs and the Collection of video materials are most frequently used. Dealing with the original archival material, especially when it comes to photographs or video materials, students get the most precise frame of the past on the basis of which they then best develop their own critical thinking. In this way, archival practice illustrates the educational role of archives. Authors also deal with the question how and to what extent does the use of archival materials affect the students' understanding of the topic and inspires them to visit archives and to do their own research which also contributes to the popularization of archives and archival science.

C-SPAN's mission is to present as complete and unfiltered a view of the policy process as possible. The organization prides itself on providing “the whole story without editing and without commentary.” The Purdue Public Affairs Video Archives tapes and catalogs all of C-SPAN's 24-hour daily coverage of the policy process, thus facilitating the use of C-SPAN for teaching and research. For professors reluctant to adopt the added burden of using C-SPAN in the classroom, Purdue Archives significantly reduces that burden.C-SPAN viewing is not meant to replace lectures and classroom discussions. Rather C-SPAN viewing is meant to enrich a course curriculum. Ideally, the use of tapes should complement class lectures and discussions. C-SPAN allows students in an American Government or Congress course to observe directly the House and Senate in action. Viewing can incite student interest, reinforce class materials, and enable students to experience the drama of the legislative process. C-SPAN viewing will instigate class discussions, though professors must provide the context for student viewing by introducing the tape and directing discussion afterwards. These tapes are not filmstrips.

In this essay, I discuss the design of “Anatomy and the Archive,” a 300-level writing-intensive medical humanities class for students in the health sciences and liberal arts, and how I adapted when the 2020 COVID pandemic disrupted our plans to mount a gallery exhibition of archival anatomical textbooks as its final project. Students read about medical museums, the history of art and anatomy, book history, and ethical issues surrounding working with human remains, and they visited our campus’s cadaver lab. Experts in these fields guest lectured via Zoom and assisted students remotely to assemble the exhibition. When we were unable to visit a local archive or the gallery space, we brought some of the archive to the classroom and watched video tours of the gallery. Students successfully designed an exhibition “Between Beauty and Knowledge: Women’s Bodies in Anatomical Atlases,” which will open once COVID restrictions have lifted.

The article is devoted to V.S. Bayevsky, the Smolensk scientist and writer,
 and his analysis of biographical essays about historians from the cycle of video
 lectures for graduate students «The History of Science in Scientists’ Biog-
 raphies». The selected essays contain information about the life and work of out-
 standing historiographers of the XIX century, such as S.M. Solovyov and
 V.O. Klyuchevsky. Digitized lectures from Bayevsky’s personal archive represent
 a unique theoretical material according to the presented factual information based on a large source base. The study of the proposed essays made it possible to identify the features of their structure by determining the ways of constructing
 the concept of the scientists’ personality.

The teaching of dialectology in higher education requires a complex combination of modern and traditional methods and techniques which, on the one hand, enhance students’ ability to perceive and process dialect material and, on the other hand, provide teachers with free access to this material, including video recordings of authentic speech from different regions, in the educational process. These requirements are met by the newest textbook Ukrainian Dialectology (2023) by Nataliуa Hlibchuk and Oksana Kostiv, in which the authors present the material in a new way, providing active links (in the form of QR codes) to videos representing the speech of dialect speakers. Alongside the direct acquaintance with the linguistic peculiarities of a particular Ukrainian dialect in accordance with the topic of the lecture (seminar), students have the opportunity to watch other recordings from the same or different regions of Ukraine, presented on the YouTube channel of the Laboratory of Dialectological and Onomastic Studies (https://www.youtube.com/channel/UCK8b1-nPhKX67HlPBJ3gHgQ). The visualisation can aid in achieving a comprehensive understanding of dialect material and developing the ability to distinguish and analyse dialect features at all levels of the language’s structure. The video materials are processed, reviewed, and prepared for use by researchers at the Laboratory of Dialectological and Onomastic Studies (http://labs.lnu.edu.ua/dialect-onomastics/), which has been operating at Ivan Franko National University of Lviv since 2023. The laboratory was created to provide a comprehensive study of Ukrainian language dialects, taking into account modern possibilities of automated work with textual material and digitalisation of dialect material. It also aims to coordinate dialectological research in the region and throughout Ukraine. Key words: dialectology, teaching methods, interactivity, dialect archive, textbook.

The Archives of Pediatric Neurosurgery Journal is proud to announce the release of its inaugural Supplement, marking a significant milestone more than three years since its establishment. The editorial team recognizes the continuous flow of scientific production, and the decision to introduce occasional supplements, prior to increasing the official journal numbers, underscores the steadfast and consistent publication policy of the APN.
 In this supplement, we featured the abstracts from the "XIV Congress of the Brazilian Society for Pediatric Neurosurgery (SBNPed)" held in Goiânia, Brazil, from August 2 to 5, 2023, under the presidency of Dr. Paulo Ronaldo Jubé. Additionally, we also included videos of lectures conducted and endorsed by SBNPed and APN.
 The Archives of Pediatric Neurosurgery Journal acknowledges the importance of research in Pediatric Neurosurgery and recognizes Brazil's leadership in various fields. We support the initiative to publish congress abstracts and encourage authors to submit their work as full articles for evaluation and potential publication.
 
 Another key aspect is the promotion and encouragement by SBNPed and APN of symposia, making some lectures available for readers to benefit from, thereby fostering the dissemination of scientific knowledge. This supplement comprises three lectures from the 2020 Neuroendoscopy Symposium delivered by Dr. Ricardo Santos de Oliveira, Dr. Marcelo Volpon, and Roberto Alexandre Dezena.
 We extend our gratitude to the entire editorial team, authors, and reviewers who contributed to the growth and development of the journal in 2023, and we look forward to an even more successful year in 2024!

Background: Multiple myeloma (MM) treatments have grown more complex in the past 5 years, with several approved treatment options targeting B-cell maturation antigen (BCMA) and emerging data around soluble BCMA and sequencing BCMA-directed therapies. Understanding these new diagnostic and treatment paradigms is important to inform rational clinical decision making in MM. Video platforms such as YouTube and VuMedi can provide a convenient and costless method to deliver content, but their ability to reach and teach US physicians has not been studied extensively for MM. We investigated usage and pre/post survey data from viewers of a continuing medical education (CME) video activity about BCMA in MM, which was available on several online platforms. Methods: We developed a CME-approved lecture with Hematology/Oncology Fellows as a target audience. The video entitled Leveraging BCMA-Directed Therapies for Improved Patient Outcomes in Relapsed/Refractory Multiple Myeloma discussed BCMA-targeting therapies and soluble BCMA in the context of a larger framework around risk assessment and treatment decision making in MM. The 1.00-hour streaming video lecture was made accessible as a CME-approved enduring webinar archive starting on May 23, 2023, on the i3 Health website, YouTube, and VuMedi. Viewers could receive CME credit by completing assessments and evaluations on the i3 Health website, which included repeated-pairs pre- and post-activity case-based questions and self-perceived gains in confidence and competence using 5-point Likert scale questions. Responses were analyzed descriptively, with Fisher's exact test used to compare responses to questions. Results: At the 2-month follow-up date of July 23, 2023, the video has been viewed 211 times, with 55 views on i3 Health, 139 views on YouTube, and 17 views on VuMedi, representing viewers from across the US and internationally. Baseline assessment data revealed gaps in knowledge in all areas that were addressed by the activity (Table 1). For learners who completed the assessments in the enduring activity, the mean score for all topics combined rose by 52% (37% vs 89%). The activity resulted in significant gains in knowledge and competence related to these topics, with P < 0.001 for all learning gains (Table 1). Upon completion of the activity, 96% of learners self-reported that knowledge acquired from this activity would be utilized to improve the outcomes of their patients, and 96% of learners self-reported that based on the information learned during the activity, they felt more confident in treating patients with MM. Conclusion: Over 200 US viewers from both rural and urban areas have viewed this lecture, primarily on YouTube but also on other platforms. Based on viewership of i3 Health's accredited activities from the past year, more than 1,200 viewers from 30 countries are expected to be represented by the end of the 12-month period. The post-activity assessment demonstrates notable areas of knowledge gains around BCMA-directed therapies in MM. The improvements in competence seen on the case-based assessment questions, as well as gains in self-perceived competence and confidence in treating patients with cancer, show significant impact and the educational benefits of online video viewing.

In this article, the author continues to study the choreographic interpretations of the works of J. Neumeier, in particular, the ballet "Lady of the Camellias". The identification of expressive staging means and choreographic elements used by Neumeier in the production of the "white" duet of Marguerite and Armand is carried out in this work in order to determine the place of this choreographic fragment in the performance and its significance both for the plastic embodiment of the images of the main characters and in the context of the evolution of the author's style. The author applied comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation (based on personal experience of working with Neumeier). Video materials from the archives of the Hamburg "Ballettzentrum" and the Moscow Bolshoi Theater and lectures conducted by Neumeier on the eve of the Moscow premiere of "Lady of the Camellias" (recordings from the author's archive) were also used. A detailed analysis of the "white" duet allows us to conclude that the studied choreographic fragment is markedly different from the other two duets of Marguerite and Arman. From the point of view of developing the images of the main characters, this is the only episode of the play in which Neumeier allows the audience to see the light lyrics in the relationship between Marguerite and Armand. In the "white" duet, the choreographic innovations of the choreographer in the field of technically saturated duet dance, replete with upper supports, with a lack of preparation for them and constant control by the partner of the ballerina's movements, are especially justified. They are the main means of plastic expressiveness, creating the effect of flight, an unbroken flow of movements, as well as the visualization of musical legato. It is this duet technique (later actively used by the choreographer) that can be called a distinctive feature of the choreographic style of J. Neumeier.

This article continues the author's research devoted to the study of the problem of choreographic interpretations of literary works, in particular, John Neumeier's ballet "Anna Karenina". In this work, the identification of expressive staging means and choreographic elements used by Neumeier in the production of duets by Anna Karenina and Alexei Vronsky is carried out in order to determine the place of these choreographic fragments in the performance, as well as their significance for the author's interpretation of the images of the main characters of the novel by Leo Tolstoy. In the course of the research, the author applied comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation (based on personal experience of working with Neumeier on Kitty's party). In the course of the source analysis, video materials from the archives of the Hamburg Ballettzentrum and the Moscow Bolshoi Theater were used, as well as lectures conducted by Neumeier before the Moscow premiere of Anna Karenina (recordings from the author's archive). A detailed analysis of the dance score of three duets by Anna and Vronsky revealed traditional and innovative author's solutions related to the new research results. So, Neumeier uses such staging means as the compilation of Tchaikovsky and Schnittke's music; the inclusion of symbolic images (a chair, a door, a bag) in the choreographic canvas; the appearance of other characters; the use of stage lighting to accentuate the transition from reality to the sphere of the subconscious; active choreographic development based on a technically saturated duet dance, replete with high supports in the neoclassical style, as well as acrobatic elements; semantic use of plastic quotations. It can be concluded that in order to develop the images and relationships of Anna Karenina and Alexey Vronsky, the choreographer chooses a duet as the dominant musical and choreographic form. Moreover, in his version of Anna Karenina, Neumeier makes three duets of the main characters a key component of the performance and the author's interpretation of the images of the main characters.

The problem of choreographic interpretation of the novel “Anna Karenina” by L. Tolstoy in the modern ballet theater is relevant: in the past twenty years, several outstanding choreographers have selected this theme for their performance. The subject of this article is the interpretation of the character of Levin by John Neumeier. The goal consists in revealing the expressive elements and peculiarities of choreographic language used by the ballet master in staging this role, as well as in juxtaposing them with the original literary text. The article employs comparative and analytical methods, overt observation (in the process of working with Neumeier on the role of Kitty), Neumeier's lectures prior to the Moscow premiere of “Anna Karenina” (from the author's archive), and materials from video archives of the theatre. Detailed semantic analysis of stage direction and choreographic language of the role of Levin became the basic instrument for determining the traits of Tolstoy’s hero, which Neumeier derived from the literary source. Tolstoy’s reasoning on the topics that require in-depth philosophical reflection, which were inscribed into the artistic fabric of the novel, are instilled in the role of Levin. Creating the choreographic interpretation of this character, Neumeier did not pursue the original verbatim. However, the choreographer strongly emphasizes the difference between Levin and other characters. Determination of the staging techniques used for this purpose define the novelty of the research results, which can be applied in the further study of Neumeier's works. This includes explicit monologue, Stevens' songs as musical background, bare feet of the dancer, series of symbolic leitmotivs of bodily movements, arbitrary bodily movements that resemble improvisation, usage of costume details. Levin's monologues represent a performance within a performance, philosophical-symbolic choreographic meditation that is not connected with the overall plotline. Such solution, despite all apparent differences, conceptually brings together the choreographed character of Levin and the original text. Interpretation of this role is one of the key components in interpretation of L. Tolstoy's novel by J. Neumeier, which encompasses the author’s innovative staging solutions.

<strong>The aim of the article&nbsp;</strong>is to study the state and forms of populariІation of V. Vynnychenko&rsquo;s epistolary by archival, museum and library establishments as institutions of social memory during the full-scale Russian invasion of Ukraine. <strong>Research methods&nbsp;</strong>are presented by general scientific principles of the unity of theory and practice, the use of historical and genetic, synergistic, social and communication, interdisciplinary approaches, source research, analysis and synthesis, which make it possible to find out the specifics of V. Vynnychenko&rsquo;s epistolary popularisation in documentary and communication institutions of modern Ukraine. <strong>The scientific novelty&nbsp;</strong>of the article consists in the study of the activity of archives, museums and libraries during the war events in Ukraine, particularly, in the hometown of V. Vynnychenko, Kropyvnytskyi, using the information resource of his epistolary in objective cognition of famous personalities, introducing into scientific circulation epistolary achievements in assessment by a sender and addressees of the policy of Russian Bilshoviks in Ukraine in the early 1930s, and the problems of national culture as an important component of the Ukrainian information space, which contributes to the dissemination of true historical and cultural data, counteraction of hostile disinformation, modelling of national identity and public opinion. <strong>Main conclusions.&nbsp;</strong>The popularisation of V. Vynnychenko&rsquo;s epistolary heritage in modern documentary and communication institutions of Ukraine is based on the use of information and communication technologies, as well as reproduction of information sources in digital formats of the following strategic directions: 1) development of optimal forms of interaction on a partnership ground; 2) intensification of social communications due to the expansion of the interaction methods spectrum, and diversification of forms (lectures, meetings, round tables, conferences, etc.); 3) research and rational dissemination of Ukrainian and foreign experience, which enables the introduction of the documentary resource of V. Vynnychenko&rsquo;s letters and his addressees to the global information space. The popularisation effectiveness of V. Vynnychenko&rsquo;s epistolary as a valuable historical and cultural document, an authentic primary source in the objective understanding of historical and cultural information, and unique personalities of a sender and addressees is determined by modern means of reputation marketing (advertising, Google tools, social networks, video presentations, webinars, workshops classes, QR codes, online chats, etc.); cooperation with the media is presented by the backgrounder, press release, media kit, combination of text, photo and video in reports, etc.

Abstract. Distance education has been offered for years, but the integration of technological developments and opportunities into education has recently increased its popularity and event it became an indispensable method during the Covid-19 pandemic period. In distance education, accessing all class materials such as lecture presentations, class notes, reading materials, videos, live chats or class hours, and archive records allow students (participants) to learn without being in the same environments with teachers or learners. Technology has made vast contributions to the field of education. For instance, 3D as a teaching tool for the class attracts students’ attention, makes the learning process more enjoyable, and increases participation. In particular, for the disciplines, such as forestry, earth, and environmental sciences, which require laboratory exercises, field observation, field trips, and in-situ measurements, 3D modeling has provided many benefits in distance education. It enables 3D demonstration of the individual tree species to develop a virtual field laboratory. This study focused on the data sources and techniques to generate a 3D model of the individual tree species that forestry students used for distance education. The capabilities of the method in the generation of 3D models were evaluated by using UAV-based SfM photogrammetry. The results indicated that implementing 3D images of individual tree species can be a promising method that may increase the interest, interaction and satisfaction of the students in distance education in forestry.

Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff. Perhaps, this is why M. Karminskyi chose the Library as the main curator of his archive. What is better than studying the artist’s personal archive to give an idea of his personality, creative methods and worldview? Even a cursory glance at the collection of documents classified on the shelves of the archive, illustrating particular biographical episodes, helps the researcher to form a holistic impression of the artist’s creative personality, as well as to orient, if necessary, for further more depth studying of his heritage. The purpose of this article is a brief review of the general content of the archival fund of M. V. Karminskyi, with the materials of which the author had the honor to conduct research and bibliographic work, as of a documentary sources base for future research of the composer’s work and the history of the musical culture of Kharkiv in 1950–2000 years. Statement of the main positions of the publication. The composer began to transfer his archive to the library during his lifetime: he arranged folders with manuscripts, gave explanations about the time of writing and purpose of individual works. It was this archive that was the first to get into the library as a full-fledged array of documents about the life of a creative person. The condition for its transfer was the possibility of unimpeded viewing of the archive and its copying for the purpose of training and concert performance of the composer’s works. The full description of M. Karminskyi’s archive was completed in 1996, but the fund was supplemented several times thanks to new materials that came to the archival collection after its formation. It contains a variety of documents, including musical manuscripts, newspaper clippings, photographic documents, sound recordings on various media, posters, booklets, programs, manuscripts by other authors related to the activities of the composer. Thus, for the theater – opera, drama – the composer has been actively working since a young age. He wrote music for performances of Kharkiv theaters – Puppet Theater, Young Audience Theater, Ukrainian Drama Theater named after Taras Shevchenko, Jewish Theater, even for student amateur theaters. Four operas by M. Karminskyi, among them – “Ten days that shook the world”, “Irkutsk story” – were successfully staged in many theaters in Ukraine, Russia, the Czech Republic and Germany. Particular attention was drawn to the opera “Ten Days That Shook the World” based on John Reed’s book about the events in Petrograd in 1917, which was published as the separate piano reduction and received a large number of reviews in periodicals. The typewritten copies of reviews by famous Ukrainian musicologists K. Heivandova and I. Zolotovytska have been preserved in the archive. The collection of the archive also includes the published piano score of the opera “Irkutsk story”, the known “Waltz” from which served as a call sign of the Kharkiv Regional Radio for many years. One of the most interesting manuscripts of the archive is the music for the unfinished ballet “Rembrandt” on the libretto by V. Dubrovskyi. The musical “Robin Hood”, which was performed not only in Kharkiv, but also in Moscow, brought the composer national fame. The sound recording of the Moscow play was distributed thanks to the release of gramophone records created with the participation of stars of Soviet stage – the singers Joseph Kobzon, Lev Leshchenko, Valentina Tolkunova and the famous actor Eugene Leonov. The popularity of this musical was phenomenal; excerpts from it were performed even in children’s music schools, as evidenced by the archival documents. During the composer’s life and after his death, his vocal and choral works, works for various instruments were mostly published. The array of these musical editions and manuscripts of M. Karminskyi is arranged in the archive by musical genres. These are piano pieces and other instrumental works, among them is one of the most popular opuses of the composer – “Jewish Prayer” for solo violin (the first performer – Honored Artist of Ukraine Hryhoriy Kuperman). Number a large of publications about the life and career of M. Karminskyi published in books and periodicals are collected, among them are K. Heivandova’s book (1981) “Mark Karminskyi”, the brief collection of memoirs about the composer (compiler – H. Hansburg, 2000) and the congregation of booklets of various festivals and competitions, for example, the booklets of the International Music Festival “Kharkiv Assemblies”, in which the composer has participated since the day of their founding. The booklet of the M. Karminskyi Choral Music Festival testifies to a unique phenomenon in the musical life of the city: never before or since has such a large-scale event dedicated to the work of a single person taken place attracting so many choirs from all Ukraine. A separate array of documents is the photo archive, which includes 136 portraits, photos from various events; 41 of them were donated by a famous Kharkiv photographer Yu. L. Shcherbinin. The audio-video archive of M. V. Karminskyi consists of records of his works, released by the company “Melody”: staging of performances “Robin Hood”, “There are musketeers!” (based on the play by M. Svetlov “20 years later”), various songs, video and tape cassettes with recordings of concerts. Other interesting documents have been preserved, for example, a typewritten script for the Kharkiv TV program about M. Karminskyi with his own participation or the library form, which can be used to trace his preferences as a reader. M. Karminskyi also compiled reviews of publications on the performance of his works and short bibliographic descriptions of their print editions. Conclusions. M. Karminskyi’s personal archive founded by him own in Kharkiv ‘K. S. Stanislavskyi’ Music and Theater Library has been functioning as an independent library fund since 1996 and today it is an unique comprehensive ordered collection, which is freely available and stores documents of various types: music publications and manuscripts, newspaper and magazine fragments, announces, photos, sound and video documents. M. Karminskyi’s archival fund is used as a documentary source for scientific researches (the Candidate’s dissertations of art critics Yu. Ivanova (2001) and E. Kushchova (2004) were defended using the materials of the archive) and as a basic congregation of works by the composer for their performance. The use of digital technologies is part of the necessary modern perspective of the fund’s development, the value of which as a primary source of historical and cultural information only grows over time.

Abstract Introduction/Objective Grand Rounds seminars are a cornerstone of scholarship in all academic departments. They provide education, stimulate discussion, and build faculty reputation. The COVID-19 pandemic led to cancellations in teaching conferences and lost opportunities for all of the above starting in March 2020. The social medial hashtag #VirtualPathGR and @VirtualPathGR Twitter (San Francisco, CA) accounts (VPGR) were created to address a need for continued engagement in academic pathology, during and after periods of physical distancing. Methods #VirtualPathGR was first used on March 21, 2020 to assess interest in a VPGR format. Six pathologists organized a social-media based platform, utilizing video conferencing. Zoom (San Jose, CA) was selected because it is free and easy to use. A committee developed criteria for inviting hosts and speakers, developed a logo and template for announcements and promoted VPGR. Potential speakers were selected initially via self-nomination and subsequently by selections from the VPGR board. Free pre-registration was required to minimize risk of disruption by malicious actors. Academic institutions served as “hosts” similar to traditional GR, and the speaker was introduced by one of the VPGR board members. Evaluations were sent to participants via the chat function in Zoom. Lectures were recorded and archived via YouTube (San Bruno, CA). Results As of May 1, #VirtualPathGR has 2.6 million impressions and the Twitter account has 808 followers. From April 2 to May 1, five VPGR were held with 1,720 registrations (average 344 per event) and 829 Zoom attendees overall (average 165 per event). 4 separate academic host institutions were involved and speakers included Assistant to Full Professors. Participants from 16 different countries attended the live sessions. The archived talks have been viewed 954 times via YouTube. VPGR received support from the American Society for Clinical Pathology (Chicago, IL), leading to a partnership to provide CME credit. Conclusion VPGR serves as strong proof of concept of the ability and demand for high quality academic pathology talks to be given remotely. VPGR promotes academic engagement and provides career-building opportunities by partnering with host universities. While remote learning comes with challenges, VPGR shows that the pathology community can harness the power of remote technologies to enhance learning across the world, now and in the future.

The subject of this article is the artistic and staging solutions applied by John Neumeier in choreographing the ballet &amp;ldquo;Anna Karenina&amp;rdquo;. Their determination and analysis is carried out in order to reveal the semantic dominants in interpretation of L. Tolstoy's plotline and understand the ideological intention of the author, who is both a choreographer and a production designer. The research is based on the comprehensive approach. Using semantic analysis of the ballet, the author was leaning on the principles developed by theoreticians and historians of the choreographic theater &amp;ndash; Dobrovolskaya, Krasovskaya, Lopukhov, Suriz. In the course of historiographical analysis, were used the lectures given by Neumeier prior to the Moscow premiere of &amp;ldquo;Anna Karenina&amp;rdquo;. The article also contains video materials from the archives of Hamburg &amp;ldquo;Ballettzentrum&amp;rdquo; and Moscow Bolshoi Theater. The method of overt observation (based on the personal experience of working with Neumeier on the role of Kitty) was also applied. Neumeier saturates the minimalistic and easily transformable design of the ballet with symbolic images (chair, bag, door, steam locomotive), as well as uses staging techniques such as layering of scenes and change of scenery in motion, exposure of the structure of decorations, creation of several scenic plans, use of videography. Detailed semantic analysis of scenography, which became the key research instrument, allows concluding that in his choreographic interpretation of L/ Tolstoy's novel, Neumeier actively uses staging techniques characteristic to drama theater, broadening the range of scenographic solutions for the ballet performance. The author was able to determine and decode the symbolism of the original expressive elements and images by in-depth analysis of the ideological concept of the performance.

The aim of the article is to study the state and forms of populariІation of V. Vynnychenko’s epistolary by archival, museum and library establishments as institutions of social memory during the full-scale Russian invasion of Ukraine. Research methods are presented by general scientific principles of the unity of theory and practice, the use of historical and genetic, synergistic, social and communication, interdisciplinary approaches, source research, analysis and synthesis, which make it possible to find out the specifics of V. Vynnychenko’s epistolary popularisation in documentary and communication institutions of modern Ukraine. The scientific novelty of the article consists in the study of the activity of archives, museums and libraries during the war events in Ukraine, particularly, in the hometown of V. Vynnychenko, Kropyvnytskyi, using the information resource of his epistolary in objective cognition of famous personalities, introducing into scientific circulation epistolary achievements in assessment by a sender and addressees of the policy of Russian Bilshoviks in Ukraine in the early 1930s, and the problems of national culture as an important component of the Ukrainian information space, which contributes to the dissemination of true historical and cultural data, counteraction of hostile disinformation, modelling of national identity and public opinion. Main conclusions. The popularisation of V. Vynnychenko’s epistolary heritage in modern documentary and communication institutions of Ukraine is based on the use of information and communication technologies, as well as reproduction of information sources in digital formats of the following strategic directions: 1) development of optimal forms of interaction on a partnership ground; 2) intensification of social communications due to the expansion of the interaction methods spectrum, and diversification of forms (lectures, meetings, round tables, conferences, etc.); 3) research and rational dissemination of Ukrainian and foreign experience, which enables the introduction of the documentary resource of V. Vynnychenko’s letters and his addressees to the global information space. The popularisation effectiveness of V. Vynnychenko’s epistolary as a valuable historical and cultural document, an authentic primary source in the objective understanding of historical and cultural information, and unique personalities of a sender and addressees is determined by modern means of reputation marketing (advertising, Google tools, social networks, video presentations, webinars, workshops classes, QR codes, online chats, etc.); cooperation with the media is presented by the backgrounder, press release, media kit, combination of text, photo and video in reports, etc.

The activities of the Ukrainian Institute of National Remembrance in preserving the memory of the modern Russian-Ukrainian war in 2014–2021 (from the beginning of Russian aggression against Ukraine to the transition of the Russian Federation to a full-scale war of aggression against our country) are analyzed in this paper. The Ukrainian Institute of National Remembrance, as a central executive body responsible for implementing state policy on national memory restoration and preservation, is tasked with carrying out a range of measures to honor individuals who defended Ukraine’s independence, sovereignty, and territorial integrity, as well as those involved in anti-terrorist operations. The activities of the Ukrainian Institute of National Remembrance related to preserving the memory of the modern Russian-Ukrainian war can be categorized into several key directions: 1) memorialization of the feats of Ukrainian defenders who died in combat conditions of the Russian-Ukrainian war (changing the names of settlements in honor of Ukrainian defenders; development the project of a typical memorial plaque to the fighters for the freedom of Ukraine; cooperation with museums of various levels on the creation of expositions about the modern Russian-Ukrainian war and Ukrainian heroes; artistic (photo exhibitions) and religious and ceremonial (commemoration) events; participation in the development of a military funeral ritual); 2) conducting informational and educational activities (holding open discussions, forums, round tables; public lectures for civilians and military personnel; a series of events «Let’s do our bit» on the occasion of the fifth anniversary of the liberation of cities in eastern Ukraine from the Russian occupiers; production and distribution of informational educational video materials, in particular about military women who died in the Russian-Ukrainian war; the educational project «Dialogues about the war»; the action «Sunflowers of Memory»; development of the resource «Virtual Museum of Russian Aggression»); 3) formation of an archive of memories of participants and eyewitnesses of the war (the «Oral History of the ATO» project; collection and publication of memories of participants and eyewitnesses of the Russian-Ukrainian war); 4) formation and addition of a database on dead servicemen in the modern Russian-Ukrainian war, as well as accounting of the sectors of military burials in cemeteries in populated areas of Ukraine (by the end of 2021, 4,496 dead (deceased) servicemen were registered; 523 sectors where 1,694 were buried were registered dead (deceased) persons who participated in the defense of Ukraine during the Anti-Terrorist Operation / Joint Forces Operation.

24 Background: Radiation therapy is an essential component of cancer care used for palliative and curative treatments access a wide spectrum of disease, but many low- and middle-income countries do not have equitable access to this technology or training in the radiation sciences. Towards this end, we launched a pilot program to teach the principles of radiation biology and radiation physics that are a basic component of training and credentialing of radiation oncologists in the United States. Methods: We designed a 5 days curriculum for radiation biology and radiation physics that were similar in depth and scope to the courses taught to residents at MD Anderson. Medical oncologists, medical students and radiation therapists from Zambia, Tanzania, Lesotho, as well as Papua New Guinea attended the course. All have experience with direct patient care in oncology, but no formal training in radiation biology or physics. A pre-test of 50 multiple choice questions for radiation biology and 40 multiple choice questions for radiation physics was administered to all students prior any instruction on the first day of the course, and the same test was given on the last day. Each question stem had 4 possible choices. Instructions consisted of lectures and problems sets with an emphasis on practical applications of radiation biology and physics. Results: The students (N = 22) scored a mean of 30.6±13.5% correct on the radiation biology pre-test and this improved to a mean of 57.7±13.1% after 5 days of instruction (P &lt; 0.0001). Similarly, the students who took the medical physics exam (N = 22) had a mean 33.0±8.8% correct at baseline, which improved to 61.7±18.1% on the post-test (P &lt; 0.0001). Conclusions: Despite almost no prior exposure to these complicated concepts, students exhibited nearly a two-fold increase in scores on a standardized test of radiation biology and medical physics. This pilot study demonstrates a proof-of-concept that this material can be taught effectively in a short time frame. Further refinement of this material may allow similar in-person intensive courses, teleconferencing, or archived videos to improve the education of radiation therapists in low- and middle-income countries.

Purpose: The purpose of this study was to investigate factors influencing post-graduate students' reading trends at university libraries in Islamabad as well as students' reading trends and their effects on academic achievement. Methodology: To accomplish the study's objectives, a quantitative research technique was used, and a survey based on a questionnaire was undertaken. For the purpose of gathering information from the respondents, a structured questionnaire was created. Data was gathered from the libraries of Islamabad-based HEC-recognized universities using a purposive sampling technique. The survey received 129 responses from users of the 16 libraries. Findings: This study reveals that respondents like to read electronic documents rather than paper-based materials. They read for multiple purposes, including academic assignments and course work, self-development, preparation for exams, and to improve their ability in spoken and written English language communication. The study also reveals that respondents get good grades due to reading, expressing themselves well in class, can make assignments easily, makes them feel proud, and reading newspapers increases their awareness level. The study also reveals that social networking sites like Facebook, WhatsApp, Twitter, and others, as well as time spent watching TV and playing video games, have a detrimental impact on the reading trends of postgraduate students in Islamabad. Originality: This is the first study of its kind conducted in the territory of Islamabad. Therefore, its findings can have a significant impact on the readers. References Ahmad, M., Abawajy, J. H., Shahibi, M. S., Dollah, W. A. K. W., Ismail, S. A., &amp; Saman, W. S. W. M. (2017). Model for Digital Services in Libraries. Journal of Informatics and Mathematical Sciences, 9(4), 1159-1164. Ahmad, Z., Tariq, M., Iqbal, Q., &amp; Sial, T. A. (2021). Exploring the Factors Affecting the Development of Reading Trends among Children. 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Inculcating reading habits among secondary school students. Journal of Scientific and Engineering Research, 4(8), 407-416. Du Toit, C. M. (2007). The recreational reading trends of adolescent readers: A case study (Doctoral dissertation, University of Pretoria). Fatiloro, O. F., Adesola, O. A., Hameed, B. A., &amp; Adewumi, O. M. (2017). A Survey on the Reading Trends among Colleges of Education Students in the Information Age. Journal of Education and Practice, 8(8), 106-110. Kutay, V. (2014). A survey of the reading trends of Turkish high school students and an examination of the efforts to encourage them to read (Doctoral dissertation, Loughborough University). Littman, J., &amp; Connaway, L. S. (2004). A circulation analysis of print books and e-books in on academic research library. Library resources and technical services, 48(4), 256-262. Lone, F. A. (2011). Reading trends of rural and urban college students in the 21st century. Library Philosophy and Practice (e-journal). 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DNN-BP: a novel framework for cuffless blood pressure measurement from optimal PPG features using deep learning model. Medical &amp; Biological Engineering &amp; Computing, 1-22. https://www.researchsquare.com/article/rs-2624386/v1 Samsuddin, S. F., Shaffril, H. A. M., &amp; Fauzi, A. (2020). Heigh-ho, heigh-ho, to the rural libraries we go!-a systematic literature review. Library &amp; Information Science Research, 42(1), 100997. Sehar, N., &amp; Ghaffar, A. (2018). Reading trends among undergraduate students of NED university of engineering and technology, Karachi, Pakistan: a pilot study. Soroya, S. H., &amp; Ameen, K. (2020). Millennials’ Reading behavior in the digital age: A case study of pakistani university students. Journal of Library Administration, 60(5), 559-577. Soroya, S. H., &amp; Ameen, K. (2018). What do they want? Millennials and role of libraries in Pakistan. The Journal of Academic Librarianship, 44(2), 248-255. Soroya, S. H., &amp; Ameen, K. (2016). 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e4912046This scoping exploratory review was aimed at analyzing the challenges that the so-called post-truth world represents for teaching in Ibero-Latin American higher education. With the increased access to online information media and social networks, netizens are increasingly exposed and may be more vulnerable to false or misleading information that seeks to generate action from emotions rather than reason (GOSWAMI, 2017, Chronicle of Higher Education). The reference search was carried out in the databases of SciELO and La Referencia, from which 26 titles out of 196 were selected. Combinations of terms such as social media, post-truth, fake news, fact-checking, education, higher education, university, teaching, critical thinking, and freedom of expression were used, with the Boolean “Y” connector. The analysis of the references resulted in six thematic categories: main concepts; realms of fake news; news verification initiatives and methods; theoretical analysis and its relationship with education; studies on the factors, perception and credibility of fake news; and addressing misinformation in higher education. The discussion presents the draft of a proposed pedagogical model to be used in higher education and to address misinformation. Includes: critical thinking habits, democratic dialogue, intellectual skepticism, research skills, use of reliable sources of information, and analysis from multiple perspectives.ResumoEsta revisão exploratória de escopo teve como objetivo analisar os desafios que o chamado mundo pós-verdade representa para o ensino na educação superior ibero-americana. Com o aumento do acesso às mídias de informação online e redes sociais, os internautas estão cada vez mais expostos e podem ficar mais vulneráveis a informações falsas ou enganosas que buscam gerar ações a partir de emoções ao invés da razão (GOSWAMI, 2017, Chronicle of Higher Education). A busca das referências foi realizada nas bases de dados SciELO e La Referencia, das quais foram selecionados 26 títulos em 196. Combinações de termos como mídia social, pós-verdade, notícias falsas, checagem de fatos, educação, ensino superior, universidade, ensino, pensamento crítico e liberdade de expressão foram usadas, com o conector booleano “Y”. A análise das referências resultou em seis categorias temáticas: conceitos principais; escopos de notícias falsas; iniciativas e métodos de verificação de notícias; análise teórica e sua relação com a educação; estudos sobre os fatores, percepção e credibilidade das notícias falsas; e aproximação a desinformação no ensino superior. A discussão apresenta o esboço de uma proposta de modelo pedagógico para ser usado no ensino superior e para lidar com a desinformação. Inclui: hábitos de pensamento crítico, diálogo democrático, ceticismo intelectual, habilidades de pesquisa, uso de fontes confiáveis de informação e análise de múltiplas perspectivas.ResumenEsta revisión exploratoria de alcance tuvo como fin analizar los desafíos que para la enseñanza en la educación superior iberoamericana representa lo que se denomina el mundo posfactual (post-truth). Con el incrementado acceso a medios de información en línea y las redes sociales, los cibernautas están cada vez más expuestos y pueden ser más vulnerables a información falsa o engañosa que busca generar acción a partir de las emociones antes que la razón (GOSWAMI, 2017, Chronicle of Higher Education). La búsqueda de referencias se efectuó en las bases de datos de SciELO y La Referencia, de la cual se seleccionaron 26 títulos de 196. Se usaron combinaciones de términos como redes sociales, posverdad, noticias falsas, verificación de hechos, educación, educación superior, universidad, enseñanza, pensamiento crítico y libertad de expresión, con el conector booleano “Y”. El análisis de las referencias dio como resultado seis categorías temáticas: conceptos principales; ámbitos de las noticias falsas; iniciativas y métodos de verificación de noticias; análisis teóricos y su relación con la educación; estudios sobre factores, percepción y credibilidad de las noticias falsas; y abordaje de la desinformación en la educación superior. En la discusión se presenta el borrador de un modelo pedagógico propuesto para ser utilizado en la educación superior y abordar la desinformación. Incluye: hábitos de pensamiento crítico, diálogo democrático, escepticismo intelectual, habilidades de investigación, uso de fuentes confiables de información y análisis de múltiples perspectivas.Palavras-chave: Ensino Superior, Modelo Pedagógico, Mundo Pós-Factual.Keywords: Higher Education, Pedagogical Model, Postfactual World.Palabras clave: Educación Superior, Modelo Pedagógico, Mundo Posfactual.ReferencesAGUIRRE, Juan Carlos; JARAMILLO, Luis Guillermo. La ciencia entre el objetivismo y el construccionismo. Cinta Moebio, v. 38, 2010, 72-90.AGUADO LÓPEZ, Eduardo; ROGEL SALAZAR, Rosario; GARDUÑO OROPEZA, Gustavo; et.al. Redalyc: una alternativa a las asimetrías en la distribución del conocimiento científico. Ciencia, Docencia y Tecnología, v. XIX n. 37, 2008, p. 11-30.ALPERÍN, Juan Pablo; BABINI, Dominique; FISCHMAN, Gustavo (editores). Open access indicators and scholarly communications in Latin America. Buenos Aires: CLACSO, UNESCO, FLACSO Brasil, PKP, SciELO, RedALyC, 2014. 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Appropriated literacies: the paradox of critical literacies, policies, and methodologies in a post-truth era. Education Policy Analysis Archives, v. 26, n. 147, 18 nov. 2018. Disponível em: http://dx.doi.org/10.14507/epaa.26.3377. Acesso em: 10 de outubro de 2020.CARLSON, Scott. How real-world learning could help people compete with machines. The Chronicle of Higher Education, 20 nov. 2017. Disponível em: https://www-chronicle-com.pitt.idm.oclc.org/article/How-Real-World-Learning-Could/241811. Acesso em: 2 de outubro de 2020.CATALINA-GARCÍA, Beatriz; SOUSA, Jorge Pedro; SOUSA, Li-Chang Shuen Cristina Silva. Consumo de noticias y percepción de fake news entre estudiantes de Comunicación de Brasil, España y Portugal. Revista de Comunicación, v. 18, n. 2, 2019, p. 93-115. Disponível em: https://dx.doi.org/10.26441/rc18.2-2019-a5. Acesso em: 8 de outubro de 2020.DAVID, Helena Maria Scherlowski Leal; MARTÍNEZ-RIERA, José Ramón. Fake news and small truths: a reflection on the political competence of nurses. Texto Contexto - Enfermagem, v. 29, 2020, e20190224. Disponível em: https://dx.doi.org/10.1590/1980-265x-tce-2019-0224. Acesso em: 2 de outubro de 2020.DE WIT, Hans; JARAMILLO, Isabel Christina; GACEL-ÁVILA, Jocelyne; KNIGHT, Jane. Higher education in Latin America. The international dimension. Washington, DC: The World Bank, 2005.DELGADO, Jorge Enrique. Journal publication in Chile, Colombia, and Venezuela: University responses to global, regional, and national pressures and tensions (doctoral dissertation). Pittsburgh, PA: University of Pittsburgh, School of Education, Department of Administrative and Policy Studies, 2011. Disponível em: http://d-scholarship.pitt.edu/9049/. Acesso em: 4 de outubro de 2020.DELMAZO, Caroline; VALENTE, Jonas C. L. Fake news nas redes sociais online: propagação e reações à desinformação em busca de cliques. Media Jornalismo, v. 18, n. 32, 2018, p. 155-169. 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The present study examines the impact of a novel online video lecture archiving system on in-class students enrolled in traditional math courses at a mid-sized, primarily undergraduate, university in the West. The archiving system allows in-class students web access to complete video recordings of the actual classroom lectures, and sometimes of lecture notes, shortly after the in-class sessions are completed. The data collection for evaluating the impact of this archiving system was designed through focus groups, and consequently, obtained using a customized web survey. Survey questions targeted areas of potential impact, such as changes in attitudes and behaviors (such as study habits), changes in the dynamics of professor-student relationship, and the overall student performance enhancement. The results indicate that the presence of the archived video lectures and lecture notes adds significant value to the learning process with notable improvements in the perceived student performance and overall experience in the class.

Background: Bystander cardiopulmonary resuscitation (BCPR) significantly improves survival from out-of-hospital cardiac arrest (OHCA). Telecommunicator CPR (TCPR) has been shown to increase BCPR rates, yet TCPR performance varies widely. We assess whether a bundled TCPR protocol, training, and continuous quality improvement (CQI) intervention improves TCPR performance. Methods: The intervention was implemented at a regional 9-1-1 dispatch center and had three main components: (1) the installation of the AHA-recommended 2-question TCPR protocol, (2) training to enhance telecommunicator OHCA recognition and (3) CQI with system and case-level feedback. Training included a two-hour lecture, 30 minutes of video training, and one hour of simulation training. Audio recordings of suspected OHCAs from pre (P1, 10/5/10 - 11/6/11) and post-intervention (P2, 11/7/11 - 11/4/13) periods were collected by searching center archives for calls originally processed as cardiac arrests. Recordings were analyzed according to six key TCPR metrics. Times to telecommunicator recognition of cardiac arrest, start of TCPR instructions, and initiation of chest compressions were measured using a standardized timestamp format. Results: Rates of OHCA recognition (80% to 95%, p&lt;0.0001), TCPR instructions started (32% to 72%, p&lt;0.0001), and bystander chest compressions initiated (18% to 70%, p&lt;0.001) all increased significantly. Reductions in the time from call receipt to the start of TCPR instructions (176s to 133s, p&lt;0.0001) and to the start of compressions (265s to 162s, p&lt;0.0001) were also observed. Conclusion: This bundled protocol, training and CQI intervention was associated with a significant increase in TCPR rates and a reduction in the time to first chest compression.

La inagotable historia de la TV argentina es difícil de reconstruir. Debido a una diversa serie de motivos – descarte de material, escasez de acciones de preservación apropiadas y marcos legislativos restrictivos, entre otros –, la mayor parte de este precioso legado se ha tornado prácticamente inaccesible para el público en general y para la ciudadanía argentina en particular. Durante los casi 70 años de vida de la TV argentina, sus emisoras han sido administradas por una mezcla de empresas y corporaciones extranjeras, oligopolios de comunicaciones nacionales y reiterados gobiernos de facto, en el contexto de frágiles procesos democráticos. En este contexto, el video se ha convertido en soporte y en vehículo de esas imágenes, difíciles de hallar de otras maneras, lo que ha estado ligado sin dudas, a la fuerte relación que éste estableció con la televisión, bajo la impronta de una lectura agudamente crítica sobre el medio. Si desde esta perspectiva, la televisión es el video (pues a fin de cuentas, los registros de sus emisiones son todo lo que nos queda de ella), el análisis de algunas de estas obras y de sus modos de circulación resultan fundamentales para pensar al video experimental como una forma (tan involuntaria como efectiva) de concebir potenciales archivos y de volver a poner en foco una época que, de otro modo, sólo nos devolvería una pantalla negra.

Abstract To provide expert knowledge to patients becomes more and more important, especially during the Sars-CoV-2 pandemics, where self-helping groups could not meet and on-site information events could not take place. We discovered a need due to patients’ uninformedness about diagnostic procedures, treatment options and advice for disease prevention or special nutrition and medications after the diagnosis of Barrett’s esophagus and Barrett’s cancer. A webpage was created, including a video streaming platform (https://webcast.barrett-initiative.de/). The events were performed live with the opportunity to ask questions via the chat function. Vimeo was used for the live streaming. Three to four lecturers were invited and one moderator organized the sequence of talks and questions. Additionally, the webpage is contains an encyclopedia, to explain disease related terms in a patient-orientated language. The invitation was done based on our nation-wide patient network based on genes for barrett’s (g4b) study https://www.barrett-konsortium.de/. Patients used a desktop computer (65%), mobile phones (28%), and tablets (7%) to join the video sessions. The lecture series was started with a kick-off event in September 2021 to give a bright overview about reflux, Barrett’s esophagus und Barrett’s cancer. Four special topic events were conducted, dealing with tumor biology, cancer prevention, diagnostics needed for the correct staging and how the diagnostic will guide the therapy by explaining the expertise review board, discussing operability and prehabilitation. The series will be continued by the endoscopic and surgical treatment options. There were 1,100 views to the webpage. While during the kick-off 204 patients were online, approx. 71 to 171 patients saw the following events during the live sessions. Based on the questions by our patients and the continuous participation at our livestream events, we discovered an urgent need to provide a platform to patients, where they can find disease specific information in a patients-oriented language. Therefore, all lectures were deposited to a media archive where they are available to patients. We implemented our webcast project as a growing platform to cover aspects from the disease development, to diagnosis, treatment, and follow-up care.

A core mission of the Group for Research and Assessment of Psoriasis and Psoriatic Arthritis (GRAPPA) is to provide education about psoriasis and psoriatic arthritis globally. This is a multifaceted endeavor involving in-person and virtual lectures, discussions, podcasts, and archived videos directed toward clinicians and researchers who are involved with psoriatic disease (PsD) care. In partnership with patient service leagues, we also aim to provide education to patients with PsD. At the 2022 annual meeting, an update of the ongoing and expected educational initiatives was presented. A project with a high educational and research value is the Axial Involvement in Psoriatic Arthritis (AXIS) cohort established in collaboration with the Assessment of Spondyloarthritis international Society (ASAS). Here we summarize the status of the project.

Ante las limitadas observaciones y análisis que se hacen con relación a las acciones artísticas dirigidas a niños, niñas y jóvenes, desarrolladas en las escuelas y fuera de ellas, este texto busca describir el diseño, gestión, implementación e impacto del modelo de intervención artística Leer para Crear, implementado en los espacios públicos con base en el fomento en la lectura y la plástica, a través de la técnica mosaico-Trencadís. El estudio es una investigación cualitativa basada en la entrevista en profundidad, la observación participante, el registro de archivos (fotos y videos) y la triangulación de datos. Esta práctica se realizó con 142 participantes, entre niños, niñas y jóvenes, en el barrio El Nejayote, Monterrey, México, durante el periodo de julio a septiembre de 2017. La experiencia ha sido replicada con éxito en ocho escuelas primarias de la Secretaría de Educación Pública del estado. La información recabada evidencia la efectividad del método de intervención Leer para Crear, al constituir un medio ideal para fomentar el pensamiento creativo e innovador, y el trabajo en equipo, lo cual influye en el desarrollo emocional y en el aprendizaje de las niñas, niños y jóvenes; así como, en el embellecimiento del espacio escolar y público.

After eighteen months of online art education during the COVID-19 pandemic, the authors consider Form and Time, a required first-year studio art course at OCAD University in Toronto, as a case study within global practices of reconfiguration and experimentalism in art and design pedagogy during the crisis. Form and Time was scheduled to launch as a required first-year course on campus at OCADU in Fall 2020, but quarantine prompted the pivot to fully remote. Critiques of the traditional art school’s situated format were launched before COVID-19 by anti-ableist, Indigenous and feminist scholars, addressing access barriers and stressing resilience in the face of crisis and oppression. The pandemic disrupted the centrality of in-person studios and critique methods in post-secondary art education; this accelerated and took unexpected turns during the online pedagogical experiments of the early pandemic. In this context, Form and Time foreshadows new modes of art school studio delivery, decentering and critically intersecting with studio precedents suddenly disrupted by remote learning during COVID-19. Form and Time’s weekly asynchronous video lectures and online meetings probed themes of Space, Form and Time. Students posted weekly studio experiments on discussion boards, using materials close at hand. As with other art and design courses, everyday objects and materials provided a platform for discussing material conditions and encounters during the pandemic. Students depicted their unique surroundings using strategies of observation and walking. They accessed faculty-made online micro-workshops recorded by the various course instructors on home studio material techniques. These comprise a growing online archive shared by faculty teaching the multi-section course. Looking forward, we anticipate further crises. Greater interplay between online, blended and hands-on art studio education will prioritize flexibility that can better adapt to life pressures and emergencies, opening access for a diverse range of learners in decentered locations.

Like fire, radio waves are a natural, physical phenomenon. Like fire, humans have learned to control radio waves for our own purposes. Human civilisation itself may be predicated on our ability to conceive of and control sound in extraordinarily complex ways within our own bodies – a development that gave rise to rich oral cultures the world over and facilitated our ability to cooperate within and beyond our immediate social groups. In turn, radio waves are a finite natural resource that can be harnessed by various pieces of technology for transmission well beyond the immediate. The etymology of the word audio is of Latin origin, with further links back to Indo-Asian connections. The word “auditorium” is another Latin-originating link to audio: auditorium in its ancient Roman language refers to a lecture room and thereby identifies public presentation of speech for groups that eventually defined institutions such as parliaments, schools, and universities. In the 130 years since Guglielmo Marconi conceived of and then developed wireless telegraphy off the back of theorisation and experiments by James Clerk Maxwell, Heinrich Hertz, and others, we have created a vast global infrastructure specifically to generate and listen for radio waves. This infrastructure includes the obvious and mundane: the transmitters and receivers which have sustained a new media industry since their development. It includes the less obvious: wireless transmission of messages to ships and aircraft around the world. And it includes technologies we now barely think of as radio at all: mobile phone towers and the phones themselves still largely use the radiofrequency portion of the electromagnetic radiation spectrum. Each of these has its place in the pantheon of human audio technologies. Other aspects of audio production and reception are just as important and culturally resonant. Technologies to enable hearing for those without it. Tools that help us translate spoken languages. The creation and sharing of audio and video over the Internet. Each of these also tells a story of the human relationship with sound and audio. Audio and radio content production and distribution have transformed in the face of the cultural, technological, and political development of the Internet. Like other media, broadcast radio has converged and submerged with digital technologies and global high-speed transmissions, now divorced from its physical, terrestrial, and local origins. Sitting at the crossroads of radio and participatory media is podcasting, a medium through which individuals, groups, and organisations can create and distribute audio storytelling on the Internet. Industries, individuals, and communities continue to grapple with these technologies. The foremost podcast platforms seek to own audio distribution channels just as they and others have come to dominate text, video, and visual media online. The National Film and Sound Archives (NFSA) of Australia, as well as the Australian commercial radio sector, this year recognised the centenary of radio on this continent. Of course, cross-continental communication systems were here long before radio. The overland telegraph was opened in 1872, and postal services operated long before that. Moreover, First Nations peoples have built complex long-distance messaging systems since time immemorial. And yet the immediacy of radio does hold a special place in the story of how fledgling towns and cities were connected and held together over the last century. This issue of M/C Journal delves into the cultural function of audio around the world and across time. The articles within demonstrate how audio production is changing alongside technology, how national policies have supported or suppressed the development and transmission of audio content, how corporations have flexed their might to shape culture, and how culture has emerged and responded to the world around it. Exploring the development of the technological component of audio and its effects and permutations on human culture has been the key element seized on by contributors to this issue to advance their intriguing – and distinctively different – directions. On all levels, it is somehow related to hearing, but it is also linked to the dissemination of creative and informational data. Through the articles in this issue, we hope to show the depth and complexity of audio research around the world: specificities of culture and policy in Europe and Asia, community radio in Australia, and the role of music in breakout, critically acclaimed films. As our contributors show, there has never been a more interesting time to re-examine audio cultures. Michael Walsh and Randall Monty each examine different audio media – music streaming and podcasts, respectively – from the perspective of their relationship to other aspects of daily life. Walsh’s interviews demonstrate the role of streaming services in offering “music in the background”, situating this use among similar uses across music history. Monty offers a reflective account of how he uses podcasts in academic research practice through listening while doing other things – chiefly commuting. In both pieces, audio as a feature of the everyday lifeworld is central. We have selected Monty’s piece as the feature article for this edition because it presents an optimistic vision of the possibilities for audio in changing research practices. The approach to audio note-taking, intentional listening, and critically assessing the podcasts accompanying each commute offers something valuable to those scholars, like ourselves, who are of the view that audio should have an increasing role in education and research. While both deal with audio in the everyday, Monty and Walsh each offer a different perspective on the role it can play: through work or leisure, in public or domestic spaces. In Jasmine Chen’s piece, we gain insight into the changing role of audio in China, first with a view of radio as a technology of the state and now of audiobooks with taboo content. Chen shows how Chinese boys’ love audio dramas such as Grandmaster of Demonic Cultivation offer a unique listening experience that immerses listeners in intimate, aural fantasies. This article deftly describes how technological advancements have shifted listening experiences from public to intimate settings in an interplay of culture and technology. Elsewhere in Asia, Sian Tomkinson analyses one of Japan’s unique media subcultures: vocaloids. These characters are built on top of audio samples from voice synthesiser software and deployed as ready-made performers by vocaloid producers. Tomkinson’s analysis of an album by vocaloid producer Neru demonstrates the depth and complexity to this unique music production culture, whereas others have overlooked the affective elements of such performances. There is a healthy representation of European media in this edition. Gemma Blackwood’s careful analysis of audio in film through a case study of the acclaimed French film Anatomy of a Fall and its feature piece – a unique cover of 50 Cent’s P.I.M.P. – demonstrates how a song can play a diegetic role in storytelling, drawing the audience’s attention to the strangeness of the situation and adding to the film’s overall sense of mystery. Blackwood also discusses the song’s cultural significance, arguing that its use in the film highlights how music can be appropriated and recontextualised. Sofia Theodosiadou and Maria Ristani likewise offer a close reading of the TRAUMA podcast and its role in articulating the collective trauma in the national identity of modern Greece, arising from a string of disasters in the period 1999-2023. The power of individual voices and testimonies in audio content is evidenced through their analysis. Still in Europe, Till Krause examines the cultural significance and economic impact of storytelling podcasts in Germany, while Johan Malmstedt delves into spectral analysis of Swedish radio to demonstrate how the sound of the ‘format radio’ stations has changed over time. Krause evidences the rising popularity of German serial storytelling podcasts, driven by their ability to offer listeners a compelling narrative experience that is often characterised by suspenseful storytelling and dramatic climaxes, and links this to other changes in the broader mediascape. Malmstedt shows that Sweden’s format radio stations have maintained a consistent musical identity throughout the years while still developing distinctive channel identities. Turning to Australia, Charitha Dissanayake explores the historical significance, current challenges, and potential pathways of ethnic radio broadcasting. Dissanayake makes the case that ethnic broadcasting, and particularly community radio, plays a vital role in fostering inclusivity and cultural preservation in Australia. Through ethnic programming – music, language and information –, migrants connect to their local communities whilst maintaining ties to their countries of origin. While the sector is diverse, Dissanayake argues that challenges persist, including an insufficient understanding of evolving community needs and engaging second-generation migrants. Kathryn Locke, Katie Ellis, and Katharina Wolf investigate how students and staff utilise audio in an Australian higher education setting, both in everyday and academic uses. This article highlights the value of audio options like podcast lectures, audio feedback, and audio captions for offering personalised learning approaches for students. The findings reveal a general lack of understanding around the possibilities of audio learning materials, and the need for a rethink of audio-supported pedagogy in higher education. Acknowledgments The editors would like to thank the reviewers for their work on this issue. Thanks also to Kevin Ng from Charles Sturt University for the issue's cover image.

Abstract. The article presents a practical training’s analysis on the discipline “Pathomorphology” at the Department of Pathological Anatomy as a tool of forming the future doctor’s professional competence.&#x0D; The main purpose of practical training on “Pathomorphology” is the formation of skills and abilities of pathological processes and diseases morphological diagnostics by studying morphological pictures with the analysis of pathogenetic mechanisms and clinical symptoms of diseases.&#x0D; Practical training on “Pathomorphology” covers the analysis of incomprehensible and complex issues of the topic during the lecturer and students’ interview, recognition of pathological processes and diseases main manifestations, students’ independent in-class work with macro -, micro -preparations and electron diffraction patterns, solving typical situational clinical tasks with the analysis of mistakes made. The students have the opportunity to observe online autopsies in dissecting room. We created and constantly update archive videos, thematic autopsies.&#x0D; A multimedia presentation has been developed for each practical training topic of the discipline, which contains a practical training scenario according to the guidance papers for teachers. This presentation contains illustrated questions in the form of flowcharts, macro- and micro-preparations, which are proposed to recognise a pathological process or disease.&#x0D; The modern education main provision is to provide students with knowledge, skills and abilities that they should master, mainly in independent in-class work, managed and guided by a lecturer. For this stage of practical training developed an album with consideration to the peculiarities of teaching the discipline at various faculties. In the album, students draw micro-preparations, according to the chart, describe macro-preparations, micro-preparations and electron diffraction patterns.&#x0D; This comprehensive approach to the study of “Pathomorphology” allows to discuss divisive interpretations of complex mechanisms of pathological processes development, demonstrate modern research methods in pathological anatomy, as well as better prepare the student for the final controls, the unified state qualification exam and the exam on International fundamentals of medicine.&#x0D; The students’ educational process in the study of the basic medical discipline “Pathomorphology” is focused on the introduction of new techniques and innovative teaching technologies. In pathological anatomy, a significant place in the assessment of the phenomena studied is given to visual macro-, microscopic, and electron-microscopic analysis of pathology. At the same time, particular importance is attributed to the visibility of the educational process, including with the use of modern multimedia technologies, which is embodied by the faculty of the Department.&#x0D; Active forms of training used in a practical training on “Pathomorphology” allow students to form basic doctor’s professional competencies. The practical training system used on the Department of Pathological Anatomy makes it possible to, first of all, motivate the student to study such a complex discipline as “Pathomorphology”, to ensure the theoretical knowledge acquisition, development and harness skills in the pathological processes and diseases morphological diagnosis as well as to form personality, which is well-versed in the professional field and has competencies for further growth in professional and personal terms.

En este año la Revista Mexicana de Urología (RMU) celebra 75 años (1943-2018) de publicación sin interrupciones. En ese lapso ha cumplido con el objetivo de difundir el conocimiento relacionado con la especialidad. Hasta el último número del 2017 la revista se publicó impresa en papel y ha estado disponible en versión electrónica en la página web de la Sociedad Mexicana de Urología www.smu.mx y en su propio sitio www.revistamexicanadeurologia.org.mx, con acceso abierto gratuito, en versiones en español e inglés en texto completo. Durante los años en los que la revista se ha impreso en papel y distribuido a través del servicio postal se han suscitado quejas por extravío de ejemplares, cambios de domicilio no notificados y una diversidad de más causas. La versión electrónica vino a subsanar esa falla, pues hoy la revista está abierta para todos quienes tienen interés en incorporarse a las modernas formas de la actualización médica continuada. Nos faltaba un paso más para la incorporación a la modernidad: la aplicación de la RMU que ya es una realidad que puede descargarse gratuitamente desde las tiendas de dispositivos Android y iOS (Apple Store). En el buscador de ambas tiendas basta con teclear: Revista Mexicana de Urología y aparecerá el logo de la SMU, enseguida debe instalarse. Siempre estará a la vista el contenido de la edición más reciente y enseguida de un clic al artículo de interés, donde aparecerán los autores y los resúmenes en español e inglés. Para descargar el artículo y poder leerlo completo es necesario registrar un correo electrónico, crear un password y activar la casilla de recordarme, para que en lo sucesivo no sea necesario repetir este procedimiento. En la nueva aplicación y en la página de la revista podrá consultarse el acervo de los artículos completos publicados en los últimos cinco años. La aplicación tiene, además, la ventaja de la actualización automática; es decir, que no hace falta ningún procedimiento para conseguir la edición más reciente. Aún más, la SMU enviará a todos los socios una alerta para avisar cuando esté disponible un nuevo número. Con este hecho se cumple uno de los objetivos de la actual mesa directiva de la SMU: lograr el propósito que todos los socios tengan acceso al contenido de la revista de manera inmediata e incrementar con esto la difusión y visibilidad nacional e internacional. Entre otras de las ventajas de esta metamorfosis de versión impresa a versión totalmente electrónica son ampliamente conocidas las que resaltan: Más accesible y disponible, puede consultarse en cualquier momento y lugar del mundo. Distribución en línea (online) a nivel mundial a través del correo electrónico. No ocupa espacio físico, es una solución para su almacenamiento, puede descargarse en su teléfono celular, tableta o consultarla en la web a través de una computadora. El buscador permite encontrar temas específicos de interés para consulta o estudio. Reducción de costos: la edición electrónica es mucho más barata y eficiente que la impresión en papel. Es un proceso socialmente responsable: no se requiere la tala de árboles ni hay desechos cuando ya no es necesaria. Posee “contenido extra” como: videos, animaciones, archivos descargables de acceso inmediato. Establece una relación cercana entre el usuario y la revista a través del envío por correo electrónico. No deja remanentes de existencias, ni crea devoluciones como las impresas. Es una plataforma de publicidad con mucho potencial. Para quienes son reacios o tienen dificultades para leer en una pantalla, sigue existiendo la posibilidad de imprimir en papel los artículos de su interés No hay duda que los cambios siempre generan inquietudes, más aún, en este caso donde toda la existencia de la revista mexicana de urología quedó registrada en papel. Es muy probable que habrá quienes tengan su colección de los números impresos y ahora al convertirse en digital sentirán una justificada y comprensible nostalgia; sin embargo, los invito a familiarizarse con la lectura en pantalla y tener la calma de disponer de conexión a internet para visualizar y descargar la revista. De igual forma los invitamos a tener una actitud positiva ante esta versión y superar la sensación de la lectura impresa, adaptándonos a los nuevos tiempos y beneficios que ofrece esta modalidad.

En este año la Revista Mexicana de Urología (RMU) celebra 75 años (1943-2018) de publicación sin interrupciones. En ese lapso ha cumplido con el objetivo de difundir el conocimiento relacionado con la especialidad. Hasta el último número del 2017 la revista se publicó impresa en papel y ha estado disponible en versión electrónica en la página web de la Sociedad Mexicana de Urología www.smu.mx y en su propio sitio www.revistamexicanadeurologia.org.mx, con acceso abierto gratuito, en versiones en español e inglés en texto completo. Durante los años en los que la revista se ha impreso en papel y distribuido a través del servicio postal se han suscitado quejas por extravío de ejemplares, cambios de domicilio no notificados y una diversidad de más causas. La versión electrónica vino a subsanar esa falla, pues hoy la revista está abierta para todos quienes tienen interés en incorporarse a las modernas formas de la actualización médica continuada. Nos faltaba un paso más para la incorporación a la modernidad: la aplicación de la RMU que ya es una realidad que puede descargarse gratuitamente desde las tiendas de dispositivos Android y iOS (Apple Store). En el buscador de ambas tiendas basta con teclear: Revista Mexicana de Urología y aparecerá el logo de la SMU, enseguida debe instalarse. Siempre estará a la vista el contenido de la edición más reciente y enseguida de un clic al artículo de interés, donde aparecerán los autores y los resúmenes en español e inglés. Para descargar el artículo y poder leerlo completo es necesario registrar un correo electrónico, crear un password y activar la casilla de recordarme, para que en lo sucesivo no sea necesario repetir este procedimiento. En la nueva aplicación y en la página de la revista podrá consultarse el acervo de los artículos completos publicados en los últimos cinco años. La aplicación tiene, además, la ventaja de la actualización automática; es decir, que no hace falta ningún procedimiento para conseguir la edición más reciente. Aún más, la SMU enviará a todos los socios una alerta para avisar cuando esté disponible un nuevo número. Con este hecho se cumple uno de los objetivos de la actual mesa directiva de la SMU: lograr el propósito que todos los socios tengan acceso al contenido de la revista de manera inmediata e incrementar con esto la difusión y visibilidad nacional e internacional. Entre otras de las ventajas de esta metamorfosis de versión impresa a versión totalmente electrónica son ampliamente conocidas las que resaltan: Más accesible y disponible, puede consultarse en cualquier momento y lugar del mundo. Distribución en línea (online) a nivel mundial a través del correo electrónico. No ocupa espacio físico, es una solución para su almacenamiento, puede descargarse en su teléfono celular, tableta o consultarla en la web a través de una computadora. El buscador permite encontrar temas específicos de interés para consulta o estudio. Reducción de costos: la edición electrónica es mucho más barata y eficiente que la impresión en papel. Es un proceso socialmente responsable: no se requiere la tala de árboles ni hay desechos cuando ya no es necesaria. Posee “contenido extra” como: videos, animaciones, archivos descargables de acceso inmediato. Establece una relación cercana entre el usuario y la revista a través del envío por correo electrónico. No deja remanentes de existencias, ni crea devoluciones como las impresas. Es una plataforma de publicidad con mucho potencial. Para quienes son reacios o tienen dificultades para leer en una pantalla, sigue existiendo la posibilidad de imprimir en papel los artículos de su interés No hay duda que los cambios siempre generan inquietudes, más aún, en este caso donde toda la existencia de la revista mexicana de urología quedó registrada en papel. Es muy probable que habrá quienes tengan su colección de los números impresos y ahora al convertirse en digital sentirán una justificada y comprensible nostalgia; sin embargo, los invito a familiarizarse con la lectura en pantalla y tener la calma de disponer de conexión a internet para visualizar y descargar la revista. De igual forma los invitamos a tener una actitud positiva ante esta versión y superar la sensación de la lectura impresa, adaptándonos a los nuevos tiempos y beneficios que ofrece esta modalidad.

Curating content is a key part of a social media user’s profile—and recent reports reveal an upward trend in the curating of video, image, and text based content (Meeker). Through “engagement”—in other words, posting content, liking, sharing, or commenting on another’s content—that content becomes part of the user’s profile and contributes to their “activity.” A user’s understanding of another user in the network depends on curation, on what another user posts and their engagement with the content. It is worth while studying content curation in terms of meaning, which involves clarifying how a user makes themselves meaningful depending on what they curate and their engagement with the curated content, and also how other users gain meaning from someone else’s curatorial work, determining how they position themselves in relation to others. This essay analyses the structure of meaning underpinning an individual’s act of curating content in social media, each time they publish content (“post”) or republish content (like, share, and/or comment) on their social media homepage. C.S. Peirce’s semiotics is the method for clarifying this structure. Based on an application of Peirce’s tripartite structure of semiosis, it becomes clear that curated content is a sign representative of the user who posted the content, the poster, and that, with the range of ways this representation takes place, it is possible to begin a classification of social media signs. Background: Meaning, Self-Documentation, Semiotics The study of meaning is a growing field in the research of social media. Lomborg makes a case for the importance of studying meaning due to social media’s “constant flux” and evolution as an object of study. In this context, structures of meaning are a stabilising component that provides “the key to explaining continuity and change in social media over time” (Lomborg 1). In her study of social media, Langlois defines meaning broadly as something we create and find. “Finding meaning” and “making sense” of the world, people, and objects involves the whole gamut of decoding meaning and applying social and cultural ideas as well as a more Deleuzian pedagogy of “real thinking” which involves creating new concepts (Deleuze Difference; Dillet). An analysis of the structure of meaning underpinning content curation extends existing research on self-documentation online, self-presentation, and personal media assemblages/personal media archives (see Doster; Good; Orkibi; Storsul). As noted by Langlois, “There has been a massive popularisation of self-documentation” (114) and it involves more than publishing reflections on blogging and microblogging platforms. It involves forms that focus on “self-presence” and “self-actualisation,” including sharing pictures, videos, and memes, writing comments, and “the use of buttons such as the Facebook ‘Like’ button” (117). Recent research discusses how Facebook profiles use the platform to collate content in a manner similar to that of diaries and scrapbooks. Good explains how social media users today and users in the print era use “tokens” to communicate taste and build cultural capital. An “interest token” is content that is shared: in the print era these are mainly clippings and in social media these are “digital articles” such as links to video clips as well as liking friends’ posts (568). Crucial to the content in both eras is the latent presence of the user. For example, in Victorian Britain contributors to confession books would hint at their desires through textual quotations. Good describes much the same structure of meaning underlying a user’s publishing of content on Facebook: “Tokens, when analysed as part of a broader media assemblage in a Facebook page or scrapbook page, can essentially speak volumes about a user’s cultural aspirations, dispositions and desires for social distinction” (568). Doster also reiterates this point about how digital technology enables users to associate themselves with digital content in order to represent themselves in complex ways. The structure of meaning analysed in this essay is found in the very phenomena identified above: when a user, by publishing content or republishing another’s content, is using their profile to curate content which is interpreted by other users to say something about them. As noted, current social media research discusses how, on platforms such as Facebook, users collate content as an important strategy of self-documentation and self-presentation. Other research examines in detail the conditions influencing the production of meaning (Langlois), identifying the software algorithms described by Chowdhry that decide what content social media users see on the platform, influencing what they curate in the first place—for example, when a user republishes, by liking, sharing, and/or commenting on, another friend’s post, a social organisation’s post, or even an advertisement. This paper, however, analyses the structure of meaning specifically. Peirce’s semiotics is a conceptual framework that explains how this structure of meaning works. Semiotics has a fruitful history of explaining in detail the problem of meaning. Chuang and Huang are clear about the benefit of Peircian semiotics as a conceptual framework for systematically presenting and processing an object of analysis (341); Metro-Roland is also adamant about the value of Peirce’s theory for offering a “robust heuristic tool” (272); and Gilles Deleuze’s Cinema 2: The Time-Image famously praises Peirce’s Sign as an alternative to Ferdinand de Saussure’s more restrictive schema in semiology (Dawkins). Semiotics clarifies how an individual act of content curation is a triadic Sign (Representamen, Object, Interpretant). This triadic structure explains how posters are represented by content, and, in turn, how the content is interpreted to be representative of them. Following from semiotics, this paper seeks to “identify signs and describe their functioning” (Culler viii) and beyond its scope is an analysis of the conditions under which the Sign is produced. The Sign, According to C.S. Peirce Peirce’s semiotic, a branch of philosophy, is triadic. He proposes that we can think “only in terms of three”, and, from these “modes of valency,” and based also on his critique of Kant (Deledalle), he claims three phenomenological categories of being: Firstness and the state of possibility; Secondness and the state of existential relations; and Thirdness and the state of certainty, reasoning, and general rules. In relation to these three modes of being he claims that the way we make sense of the world—a process he names semiosis—also has three constituents. The three constituents of semiosis inform the three core elements of Peirce’s triadic Sign. There is the Sign itself, which Peirce calls the Representamen or Sign; there is the Object the Sign represents; and there is the resulting thought that follows, called the Interpretant (CP 1.541). (References to Peirce’s work are based on the customary practice of citing his collected works: CP, Collected Papers, with volume and page numbers.) Given that semiotics is triadic, Peirce defines three kinds of Representamen, three kinds of Object, and three kinds of Interpretant. For the sake of simplification this paper focuses on Peirce’s Object and Interpretant. They are briefly explained below and noted schematically in the appendix. In terms of Peirce’s Object, there are three kinds of Sign–Object relation. From the category of Thirdness, a Sign represents its Object according to an imagined idea. Peirce describes this relation with the Symbol. From the category of Secondness, a Sign represents its Object by being physically linked to its Object, and in this case it represents an actual object. Peirce describes this relation with the Index. From the category of Firstness, a Sign represents its Object based on qualitative resemblance, and in this case it represents a possible object. Peirce describes this relation with the Icon. In his explication of Peirce, Deledalle reminds us that “Nothing in itself is icon, index or Symbol” (20), meaning, for example, that what is an index in one semiosis could be a symbol in another. Deledalle discusses a symptom as a Sign of an illness, which is the Object, and an example is a symptom such as a person’s shivering. He writes: “If this symptom is referred to in a lecture on medicine as always characterising a certain illness, the symptom is a symbol. If the doctor encounters it while he is examining a patient, the symptom is the index of the illness” (19–20). Expanding Deledalle’s discussion, if the symptom were represented in a graphic of a shivering man, the symptom is an icon. Consider the three ways a Sign is interpreted. From Thirdness, the Sign is associated with the Object based on a conceptual connection imagined by the interpreter. This is an arbitrary connection based on convention. This kind of interpretation is called an Argument. In Secondness, Sign and Object are interpreted to form a physical pair and the interpreting mind simply remarks on this connection. “The Index asserts nothing,” writes Peirce, “it only says ‘There!’” (CP 3.361). This kind of Interpretant is called a Dicent. In Firstness, the qualities of the Sign are interpreted to resemble a possible Object, and those qualities “excite analogous sensations in the mind for which it is a likeness” (CP 2.299). This kind of Interpretant is called a Rhema. The three kinds of Representamen, three kinds of Sign–Object relation and three kinds of Interpretant together create 10 principal classes of Sign. It is worth noting that Peirce originally envisaged five categories of being, which would produce further classes of Signs; moreover, in his cinema books Deleuze develops an even more expansive taxonomy of Signs from Peirce’s theoretical framework, and this is based on his subdivision of Peirce’s categories. Crucial is how semiosis depends upon “the set of knowledge and beliefs that will be brought to bear” (Metro-Rowland 274), or what Peirce calls collateral experience. Comedian Jerry Seinfeld’s first appearance on The Tonight Show explains the importance of collateral experience for meaningfulness (Goldenberg). Seinfeld says he loves a particular sign he saw on the freeway—which is unique to New York—that reads “Left turn OK.” When pronouncing the text on the sign he intentionally adds a pause, so it sounds more like, “Left turn... Okay.” Seinfeld explains that the structure of the text adds a more personal and human tone than is typical of street signs (a tone Seinfeld makes perfectly obvious through his exaggerated pronunciation), and the use of the colloquial and friendly “okay” also contributes to this personal touch. Seinfeld explains how a driver can’t help but to interpret the sign as being more like a piece of advice they could take or leave. Similar, he says, would be signs like “U-turn: enjoy it” and “Right turn: why not?” Seinfeld is making clear that the humour of the example lies with the fact that a driver’s initial response to such as sign is to take it as an instruction; in other words, the driver’s collateral experience tells them that the object of the sign is an instruction. Towards a Classification of Social Media Signs It is fair to say that how one is perceived online is influenced by the content they curate. For example, Storsul cites the following comment from a teenager: “On Facebook, you judge each other’s lives. That’s what you do. I look at pictures, how they are, and I look at interests if we share some interests. If you visit my profile you can find out everything about me” (24). In her discussion of interest tokens, Good makes clear how content online means more than what the content itself is about—it’s also used to portray a person’s cultural aspirations, social capital, and even sexual desire. Similarly, Barash et al. identifies the importance to a user’s social media post of their image projected, noting how these are typically characterised according to scales such as cool–uncool, entertaining–boring, and uplifting–depressing (209). Peirce’s tripartite structure of the Sign is a useful tool for comprehending the relationship between users and content. Consider the following hypothetical example, indicative of a typical example of curated content: a poster publishing on Facebook their holiday photos, together with a brief introductory comment. Using Peirce, this is an individual act of semiosis that can be analysed according to the following general structure: the Sign is made up of the images and the poster’s text; the Object is the poster herself; and the Interpretant is the resulting thought(s) of another user looking at this Sign. The curated content is a Sign of the poster no matter what, and that is because the poster has published this content themselves and it is literally attributed to them, through their name and profile image. But of course the meaningfulness created from this structure also depends on the user’s collateral experience of the poster. The poster of curated content is always present as the Object of the Sign and, insofar as this presence is based on their publication (and/or republication) of content to the platform, the Sign–Object relation is principally indexical. However, and as will become apparent below, there is scope in the structure of meaning for this physical “presence” of the poster to appear otherwise. The poster’s indexical presence is ostensibly more complex as they can also be absently present—for example, if they post without commenting, or simply “Listen to…” or share content. More complex still is how a share involves a different kind of presence to posting and “liking.” It is reasonable to say that each kind of presence has a different effect on the meaningfulness of the Sign. Also, consider the effect of the poster’s comment, should they choose to leave one. Based on Peirce’s phenomenology, a poster could write a comment that makes some conceptual claim (Thirdness); or that simply points to the content, similar to the function of a demonstrative pronoun (Secondness); or that is designed to excite sensations in the mind (Firstness)—for example, poetic text in the manner of a haiku. Analysing another hypothetical example will help clarify the semiotic mixes potential to content curation. Imagine a close-up image of a steak, posted in Facebook. Accompanying the image is the linguistic text “Lunch with the work crew.” The Sign is the image plus the text; the Object is the poster (in this case, “Clinton”); and the Interpretant is the idea created in the mind of the user, scrolling the feed of content on their home page, who perceives this Sign. The most obvious and salient way this Sign works is as a statement of actual fact; that is, the comment states an activity and, in terms of its relation to the image, only has a “pointing” function and provides information about its Object of actual fact only. From Peirce, this class of Sign is (IV), a Dicent Indexical Sinsign. There is also the potential, however, for this particular Sign to motivate a more conceptual or generalised interpretation of the poster. The use of slang in the text would resonate with a certain group and result in a more generalised interpretation of Clinton—for example, “Just smashed this steak after some fun runners down south.” In this text, a certain group would understand “runners” as waves at the beach, and therefore this Sign is representative of its Object as a surfer, and, more complex still, perhaps as a privileged surfer since Clinton clearly enjoys surfing on a weekday—in other words, he’s not a “weekend warrior.” From Peirce, this class of Sign is (X), an Argument Symbolic Legisign. But another user may interpret this Sign in a slightly less complex way, equally valid and important. Perhaps they don’t “get” the surfing slang in Clinton’s comment, but they understand a surfing reference has been made nonetheless. In this case a user might interpret the Sign in the following way: “He’s making some comment about surfing, but I don’t understand it.” From Peirce, this class of Sign is (VII), a Dicent Indexical Legisign. But what if Clinton simply posted this image of the steak with no text? In this case the user interpreting the Sign is directed to the Object (“Clinton”: the profile that posted the content), but the Sign does not describe anything about the Object. Instead, “The sign deals with possible evidence that some relations have been connected, and thus indicates some previous state of affairs” (Chuang and Huang 347). From Peirce, this class of Sign is (III), a Rhematic Indexical Sinsign. As a final example (which by no means concludes the analysis of this Sign), what if Clinton posted this image by way of a like only? The effect of the like is to determine the poster as less “present” than they would be had they only posted the content, or shared it, or left a comment on it. Despite the fact that the like still shows the poster as curator—and, ostensibly, publisher—of the content, determining their indexical presence, the like also allows for an iconic Sign–Object relation. As was mentioned earlier, “Nothing in itself is icon, index or symbol” (Deledalle 20). Given the poster’s iconic representation by the Sign, the poster is interpreted as a possible Object. What happens is that the qualities of the content would be interpreted to resemble some possibility of a person/Object. The user has a vague sense of somebody, but that somebody is present more as a pattern, diagram, or scheme. From Peirce, this class of Sign is (II), a Rhematic Iconic Sinsign. Conclusion This paper aims to identify and describe the structure of meaning underlying the proposition, “We are what we curate online.” Using Peirce’s tripartite Sign, it is clear that the content a user curates is representative of them; in terms of the different ways users engage with content, it is possible to begin to classify curated content into different kinds of Signs. What needs to be emphasised, and what becomes apparent from the preliminary classification undertaken here, is that another user’s interpretation of these Signs—and any Signs, for that matter—depends on the knowledge they bring to semiosis. Finally, while this paper has chosen deliberately to engage with the structure of meaning underpinning an individual act of curation and has made inroads into a classification of Signs produced from this structure, further semiotic research could take into consideration the conditions under which the Signs are created, in terms of software’s role influencing the creation of Signs and a user’s collateral knowledge. Appendix Given the breadth of Peirce’s work and the multiple and often varied definitions of his concepts, it is reasonable to consult a respected secondary synthesis of Peirce’s semiotic. The following tables are from Deledalle (19). Table 1: The Three Trichotomies of Signs 1 2 3 Representamen Object Interpretant Qualisign Icon Rhema Sinsign Index Dicisign Legisign Symbol Argument Table 2: The 10 Classes of Sign “All expressions such as R1, O2, I3, should be read according to Peirce in the following way: a Representamen ‘which is’ a First, an Object ‘which is’ a Second, an Interpretant ‘which is’ a Third (8.353)” (Deledalle 19). R O I I II III IV V VI VII VIII IX X R1 R2 R2 R2 R3 R3 R3 R3 R3 R3 O1 O1 O2 02 01 02 02 03 03 03 I1 I1 I1 I2 I1 I1 I2 I1 I2 I3 Rhematic Iconic Qualisign Rhematic Iconic Sinsign Rhematic Indexical Sinsign Dicent Indexical Sinsign Rhematic Iconic Legisign Rhematic Indexical Legisign Dicent Indexical Legisign Rhematic Symbolic Legisign Dicent Symbolic Legisign Argument Symbolic Legisign References Barash, Vladamir, Nicolas Ducheneaut, Ellen Isaacs, and Victoria Bellotti. “Faceplant: Impression (Mis)management in Facebook Status Updates.” Proceedings of the Fourth International AAAI Conference on Weblogs and Social Media. May 2015 ‹http://www.aaai.org/›. Chowdhry, Amit. “Facebook Changes Newsfeed Algorithm to Prioritise Content from Friends Over Pages.” Forbes 23 Mar. 2015. 18 June 2015 ‹http://www.forbes.com/sites/amitchowdhry/2015/04/23/facebook-changes-news-feed-algorithm-to-prioritize-content-from-friends-over-pages/›. Chuang, Tyng-Ruey, and Andrea Wei-Ching Huang. “Social Tagging, Online Communication, and Peircian Semiotics: A Conceptual Framework.” Journal of Information Science 35.3 (2009): 340–357. Culler, Jonathan. The Pursuit of Signs: Semiotics, Literature, Deconstruction. London: Routledge, 1981. Dawkins, Roger. “The Problem of a Material Element in the Sign: Deleuze, Metz, Peirce.” Angelaki: Journal of the Theoretical Humanities. 8.3 (2003): 155–67. Dillet, Benoit. “What Is Called Thinking?: When Deleuze Walks along Heideggerian Paths.” Deleuze Studies 7.2 (2013): 250–74. Deledalle, Gerard. Charles S. Peirce’s Philosophy of Signs: Essays in Comparative Semiotics. Bloomington: Indiana, 2000. Deleuze, Gilles. Cinema 2: The Time-Image. 1985. Trans. Hugh Tomlinson and Robert Galeta. Minneapolis: U of Minnesota P, 1989. ———. Difference and Repetition. Trans. Paul Patton. NY: Columbia UP, 1995. Doster, Leigh. “Millenial Teens Design and Redesign Themselves in Online Social Networks.” Journal of Consumer Behaviour 12 (2013): 267–79. Goldenberg, Max. Once Upon a Time Seinfeld Was a Little Boy. 19 Mar. 2007. Web video. 5 Apr. 2015 ‹https://www.youtube.com/watch?v=rYJxcFaRpMU›. Good, Katie Day. “From Scrapbook to Facebook: A History of Personal Media Assemblages and Archives.” New Media &amp; Society 15.4 (2012): 559–73. Langlois, Ganaele. Meaning in the Age of Social Media. NY: Palgrave, 2014. Lomborg, Stine. “'Meaning' in Social Media.” Social Media + Society 1.1 (Apr.–June 2015): 1–2. Meeker, Mary. “Internet Trends 2015 – Code Conference.” 2015. 10 Jun. 2015 ‹http://www.slideshare.net/kleinerperkins/internet-trends-v1›. Metro-Rowland, Michelle. “Interpreting Meaning: An Application of Peircian Semiotics to Tourism.” Tourism Geographies: An International Journal of Tourism Space, Place and Environment 11.2 (2009): 270–79. Orkibi, Eithan. “‘New Politics,’ New Media – New Political Language? A Rhetorical Perspective on Candidates’ Self-Presentation in Electronic Campaigns in the 2013 Israel Elections.” Israeli Affairs 21.2 (2015): 277–92. Peirce, Charles Sanders. Collected Papers. Eds. Charles Hartshorne and Paul Weiss. Vols. 1–6. Cambridge: Harvard UP, 1932. Storsul, Tanja. “Deliberation or Self-Presentation: Young People, Politics and Social Media.” Nordicom Review 35.2 (2014): 17–28.

Special Care Notice This article contains images of deceased people that might cause sadness or distress to Aboriginal and Torres Strait Islander readers. Introduction Like many cities, Perth was founded on wetlands that have been integral to its history and culture (Seddon 226–32). However, in order to promote a settlement agenda, early mapmakers sought to erase the city’s wetlands from cartographic depictions (Giblett, Cities). Since the colonial era, inner-Perth’s swamps and lakes have been drained, filled, significantly reduced in size, or otherwise reclaimed for urban expansion (Bekle). Not only have the swamps and lakes physically disappeared, the memories of their presence and influence on the city’s development over time are also largely forgotten. What was the site of Perth, specifically its wetlands, like before British settlement? In 2014, an interdisciplinary team at Edith Cowan University developed a digital visualisation process to re-imagine Perth prior to colonisation. This was based on early maps of the Swan River Colony and a range of archival information. The images depicted the city’s topography, hydrology, and vegetation and became the centerpiece of a physical exhibition entitled Re-imagining Perth’s Lost Wetlands and a virtual exhibition hosted by the Western Australian Museum. Alongside historic maps, paintings, photographs, and writings, the visual reconstruction of Perth aimed to foster appreciation of the pre-settlement environment—the homeland of the Whadjuck Nyoongar, or Bibbulmun, people (Carter and Nutter). The exhibition included the narrative of Fanny Balbuk, a Nyoongar woman who voiced her indignation over the “usurping of her beloved home ground” (Bates, The Passing 69) by flouting property lines and walking through private residences to reach places of cultural significance. Beginning with Balbuk’s story and the digital tracing of her walking route through colonial Perth, this article discusses the project in the context of contemporary pressures on the city’s extant wetlands. The re-imagining of Perth through historically, culturally, and geographically-grounded digital visualisation approaches can inspire the conservation of its wetlands heritage. Balbuk’s Walk through the City For many who grew up in Perth, Fanny Balbuk’s perambulations have achieved legendary status in the collective cultural imagination. In his memoir, David Whish-Wilson mentions Balbuk’s defiant walks and the lighting up of the city for astronaut John Glenn in 1962 as the two stories that had the most impact on his Perth childhood. From Gordon Stephenson House, Whish-Wilson visualises her journey in his mind’s eye, past Government House on St Georges Terrace (the main thoroughfare through the city centre), then north on Barrack Street towards the railway station, the site of Lake Kingsford where Balbuk once gathered bush tucker (4). He considers the footpaths “beneath the geometric frame of the modern city […] worn smooth over millennia that snake up through the sheoak and marri woodland and into the city’s heart” (Whish-Wilson 4). Balbuk’s story embodies the intertwined culture and nature of Perth—a city of wetlands. Born in 1840 on Heirisson Island, Balbuk (also known as Yooreel) (Figure 1) had ancestral bonds to the urban landscape. According to Daisy Bates, writing in the early 1900s, the Nyoongar term Matagarup, or “leg deep,” denotes the passage of shallow water near Heirisson Island where Balbuk would have forded the Swan River (“Oldest” 16). Yoonderup was recorded as the Nyoongar name for Heirisson Island (Bates, “Oldest” 16) and the birthplace of Balbuk’s mother (Bates, “Aboriginal”). In the suburb of Shenton Park near present-day Lake Jualbup, her father bequeathed to her a red ochre (or wilgi) pit that she guarded fervently throughout her life (Bates, “Aboriginal”).Figure 1. Group of Aboriginal Women at Perth, including Fanny Balbuk (far right) (c. 1900). Image Credit: State Library of Western Australia (Image Number: 44c). Balbuk’s grandparents were culturally linked to the site. At his favourite camp beside the freshwater spring near Kings Park on Mounts Bay Road, her grandfather witnessed the arrival of Lieutenant-Colonel Frederick Irwin, cousin of James Stirling (Bates, “Fanny”). In 1879, colonial entrepreneurs established the Swan Brewery at this significant locale (Welborn). Her grandmother’s gravesite later became Government House (Bates, “Fanny”) and she protested vociferously outside “the stone gates guarded by a sentry [that] enclosed her grandmother’s burial ground” (Bates, The Passing 70). Balbuk’s other grandmother was buried beneath Bishop’s Grove, the residence of the city’s first archibishop, now Terrace Hotel (Bates, “Aboriginal”). Historian Bob Reece observes that Balbuk was “the last full-descent woman of Kar’gatta (Karrakatta), the Bibbulmun name for the Mount Eliza [Kings Park] area of Perth” (134). According to accounts drawn from Bates, her home ground traversed the area between Heirisson Island and Perth’s north-western limits. In Kings Park, one of her relatives was buried near a large, hollow tree used by Nyoongar people like a cistern to capture water and which later became the site of the Queen Victoria Statue (Bates, “Aboriginal”). On the slopes of Mount Eliza, the highest point of Kings Park, at the western end of St Georges Terrace, she harvested plant foods, including zamia fruits (Macrozamia riedlei) (Bates, “Fanny”). Fanny Balbuk’s knowledge contributed to the native title claim lodged by Nyoongar people in 2006 as Bennell v. State of Western Australia—the first of its kind to acknowledge Aboriginal land rights in a capital city and part of the larger Single Nyoongar Claim (South West Aboriginal Land and Sea Council et al.). Perth’s colonial administration perceived the city’s wetlands as impediments to progress and as insalubrious environments to be eradicated through reclamation practices. For Balbuk and other Nyoongar people, however, wetlands were “nourishing terrains” (Rose) that afforded sustenance seasonally and meaning perpetually (O’Connor, Quartermaine, and Bodney). Mary Graham, a Kombu-merri elder from Queensland, articulates the connection between land and culture, “because land is sacred and must be looked after, the relation between people and land becomes the template for society and social relations. Therefore all meaning comes from land.” Traditional, embodied reliance on Perth’s wetlands is evident in Bates’ documentation. For instance, Boojoormeup was a “big swamp full of all kinds of food, now turned into Palmerston and Lake streets” (Bates, “Aboriginal”). Considering her cultural values, Balbuk’s determination to maintain pathways through the increasingly colonial Perth environment is unsurprising (Figure 2). From Heirisson Island: a straight track had led to the place where once she had gathered jilgies [crayfish] and vegetable food with the women, in the swamp where Perth railway station now stands. Through fences and over them, Balbuk took the straight track to the end. When a house was built in the way, she broke its fence-palings with her digging stick and charged up the steps and through the rooms. (Bates, The Passing 70) One obstacle was Hooper’s Fence, which Balbuk broke repeatedly on her trips to areas between Kings Park and the railway station (Bates, “Hooper’s”). Her tenacious commitment to walking ancestral routes signifies the friction between settlement infrastructure and traditional Nyoongar livelihood during an era of rapid change. Figure 2. Determination of Fanny Balbuk’s Journey between Yoonderup (Heirisson Island) and Lake Kingsford, traversing what is now the central business district of Perth on the Swan River (2014). Image background prepared by Dimitri Fotev. Track interpolation by Jeff Murray. Project Background and Approach Inspired by Fanny Balbuk’s story, Re-imagining Perth’s Lost Wetlands began as an Australian response to the Mannahatta Project. Founded in 1999, that project used spatial analysis techniques and mapping software to visualise New York’s urbanised Manhattan Island—or Mannahatta as it was called by indigenous people—in the early 1600s (Sanderson). Based on research into the island’s original biogeography and the ecological practices of Native Americans, Mannahatta enabled the public to “peel back” the city’s strata, revealing the original composition of the New York site. The layers of visuals included rich details about the island’s landforms, water systems, and vegetation. Mannahatta compelled Rod Giblett, a cultural researcher at Edith Cowan University, to develop an analogous model for visualising Perth circa 1829. The idea attracted support from the City of Perth, Landgate, and the University. Using stories, artefacts, and maps, the team—comprising a cartographer, designer, three-dimensional modelling expert, and historical researchers—set out to generate visualisations of the landscape at the time of British colonisation. Nyoongar elder Noel Nannup approved culturally sensitive material and contributed his perspective on Aboriginal content to include in the exhibition. The initiative’s context remains pressing. In many ways, Perth has become a template for development in the metropolitan area (Weller). While not unusual for a capital, the rate of transformation is perhaps unexpected in a city less than 200 years old (Forster). There also remains a persistent view of existing wetlands as obstructions to progress that, once removed, are soon forgotten (Urban Bushland Council). Digital visualisation can contribute to appreciating environments prior to colonisation but also to re-imagining possibilities for future human interactions with land, water, and space. Despite the rapid pace of change, many Perth area residents have memories of wetlands lost during their lifetimes (for example, Giblett, Forrestdale). However, as the clearing and drainage of the inner city occurred early in settlement, recollections of urban wetlands exist exclusively in historical records. In 1935, a local correspondent using the name “Sandgroper” reminisced about swamps, connecting them to Perth’s colonial heritage: But the Swamps were very real in fact, and in name in the [eighteen-] Nineties, and the Perth of my youth cannot be visualised without them. They were, of course, drying up apace, but they were swamps for all that, and they linked us directly with the earliest days of the Colony when our great-grandparents had founded this City of Perth on a sort of hog's-back, of which Hay-street was the ridge, and from which a succession of streamlets ran down its southern slope to the river, while land locked to the north of it lay a series of lakes which have long since been filled to and built over so that the only evidence that they have ever existed lies in the original street plans of Perth prepared by Roe and Hillman in the early eighteen-thirties. A salient consequence of the loss of ecological memory is the tendency to repeat the miscues of the past, especially the blatant disregard for natural and cultural heritage, as suburbanisation engulfs the area. While the swamps of inner Perth remain only in the names of streets, existing wetlands in the metropolitan area are still being threatened, as the Roe Highway (Roe 8) Campaign demonstrates. To re-imagine Perth’s lost landscape, we used several colonial survey maps to plot the location of the original lakes and swamps. At this time, a series of interconnecting waterbodies, known as the Perth Great Lakes, spread across the north of the city (Bekle and Gentilli). This phase required the earliest cartographic sources (Figure 3) because, by 1855, city maps no longer depicted wetlands. We synthesised contextual information, such as well depths, geological and botanical maps, settlers’ accounts, Nyoongar oral histories, and colonial-era artists’ impressions, to produce renderings of Perth. This diverse collection of primary and secondary materials served as the basis for creating new images of the city. Team member Jeff Murray interpolated Balbuk’s route using historical mappings and accounts, topographical data, court records, and cartographic common sense. He determined that Balbuk would have camped on the high ground of the southern part of Lake Kingsford rather than the more inundated northern part (Figure 2). Furthermore, she would have followed a reasonably direct course north of St Georges Terrace (contrary to David Whish-Wilson’s imaginings) because she was barred from Government House for protesting. This easier route would have also avoided the springs and gullies that appear on early maps of Perth. Figure 3. Townsite of Perth in Western Australia by Colonial Draftsman A. Hillman and John Septimus Roe (1838). This map of Perth depicts the wetlands that existed overlaid by the geomentric grid of the new city. Image Credit: State Library of Western Australia (Image Number: BA1961/14). Additionally, we produced an animated display based on aerial photographs to show the historical extent of change. Prompted by the build up to World War II, the earliest aerial photography of Perth dates from the late 1930s (Dixon 148–54). As “Sandgroper” noted, by this time, most of the urban wetlands had been drained or substantially modified. The animation revealed considerable alterations to the formerly swampy Swan River shoreline. Most prominent was the transformation of the Matagarup shallows across the Swan River, originally consisting of small islands. Now traversed by a causeway, this area was transformed into a single island, Heirisson—the general site of Balbuk’s birth. The animation and accompanying materials (maps, images, and writings) enabled viewers to apprehend the changes in real time and to imagine what the city was once like. Re-imagining Perth’s Urban Heart The physical environment of inner Perth includes virtually no trace of its wetland origins. Consequently, we considered whether a representation of Perth, as it existed previously, could enhance public understanding of natural heritage and thereby increase its value. For this reason, interpretive materials were exhibited centrally at Perth Town Hall. Built partly by convicts between 1867 and 1870, the venue is close to the site of the 1829 Foundation of Perth, depicted in George Pitt Morrison’s painting. Balbuk’s grandfather “camped somewhere in the city of Perth, not far from the Town Hall” (Bates, “Fanny”). The building lies one block from the site of the railway station on the site of Lake Kingsford, the subsistence grounds of Balbuk and her forebears: The old swamp which is now the Perth railway yards had been a favourite jilgi ground; a spring near the Town Hall had been a camping place of Maiago […] and others of her fathers' folk; and all around and about city and suburbs she had gathered roots and fished for crayfish in the days gone by. (Bates, “Derelicts” 55) Beginning in 1848, the draining of Lake Kingsford reached completion during the construction of the Town Hall. While the swamps of the city were not appreciated by many residents, some organisations, such as the Perth Town Trust, vigorously opposed the reclamation of the lake, alluding to its hydrological role: That, the soil being sand, it is not to be supposed that Lake Kingsford has in itself any material effect on the wells of Perth; but that, from this same reason of the sandy soil, it would be impossible to keep the lake dry without, by so doing, withdrawing the water from at least the adjacent parts of the townsite to the same depth. (Independent Journal of Politics and News 3) At the time of our exhibition, the Lake Kingsford site was again being reworked to sink the railway line and build Yagan Square, a public space named after a colonial-era Nyoongar leader. The project required specialised construction techniques due to the high water table—the remnants of the lake. People travelling to the exhibition by train in October 2014 could have seen the lake reasserting itself in partly-filled depressions, flush with winter rain (Figure 4).Figure 4. Rise of the Repressed (2014). Water Rising in the former site of Lake Kingsford/Irwin during construction, corner of Roe and Fitzgerald Streets, Northbridge, WA. Image Credit: Nandi Chinna (2014). The exhibition was situated in the Town Hall’s enclosed undercroft designed for markets and more recently for shops. While some visited after peering curiously through the glass walls of the undercroft, others hailed from local and state government organisations. Guest comments applauded the alternative view of Perth we presented. The content invited the public to re-imagine Perth as a city of wetlands that were both environmentally and culturally important. A display panel described how the city’s infrastructure presented a hindrance for Balbuk as she attempted to negotiate the once-familiar route between Yoonderup and Lake Kingsford (Figure 2). Perth’s growth “restricted Balbuk’s wanderings; towns, trains, and farms came through her ‘line of march’; old landmarks were thus swept away, and year after year saw her less confident of the locality of one-time familiar spots” (Bates, “Fanny”). Conserving Wetlands: From Re-Claiming to Re-Valuing? Imagination, for philosopher Roger Scruton, involves “thinking of, and attending to, a present object (by thinking of it, or perceiving it, in terms of something absent)” (155). According to Scruton, the feelings aroused through imagination can prompt creative, transformative experiences. While environmental conservation tends to rely on data-driven empirical approaches, it appeals to imagination less commonly. We have found, however, that attending to the present object (the city) in terms of something absent (its wetlands) through evocative visual material can complement traditional conservation agendas focused on habitats and species. The actual extent of wetlands loss in the Swan Coastal Plain—the flat and sandy region extending from Jurien Bay south to Cape Naturaliste, including Perth—is contested. However, estimates suggest that 80 per cent of wetlands have been lost, with remaining habitats threatened by climate change, suburban development, agriculture, and industry (Department of Environment and Conservation). As with the swamps and lakes of the inner city, many regional wetlands were cleared, drained, or filled before they could be properly documented. Additionally, the seasonal fluctuations of swampy places have never been easily translatable to two-dimensional records. As Giblett notes, the creation of cartographic representations and the assignment of English names were attempts to fix the dynamic boundaries of wetlands, at least in the minds of settlers and administrators (Postmodern 72–73). Moreover, European colonists found the Western Australian landscape, including its wetlands, generally discomfiting. In a letter from 1833, metaphors failed George Fletcher Moore, the effusive colonial commentator, “I cannot compare these swamps to any marshes with which you are familiar” (220). The intermediate nature of wetlands—as neither land nor lake—is perhaps one reason for their cultural marginalisation (Giblett, Postmodern 39). The conviction that unsanitary, miasmic wetlands should be converted to more useful purposes largely prevailed (Giblett, Black 105–22). Felicity Morel-EdnieBrown’s research into land ownership records in colonial Perth demonstrated that town lots on swampland were often preferred. By layering records using geographic information systems (GIS), she revealed modifications to town plans to accommodate swampland frontages. The decline of wetlands in the region appears to have been driven initially by their exploitation for water and later for fertile soil. Northern market gardens supplied the needs of the early city. It is likely that the depletion of Nyoongar bush foods predated the flourishing of these gardens (Carter and Nutter). Engaging with the history of Perth’s swamps raises questions about the appreciation of wetlands today. In an era where numerous conservation strategies and alternatives have been developed (for example, Bobbink et al. 93–220), the exploitation of wetlands in service to population growth persists. On Perth’s north side, wetlands have long been subdued by controlling their water levels and landscaping their boundaries, as the suburban examples of Lake Monger and Hyde Park (formerly Third Swamp Reserve) reveal. Largely unmodified wetlands, such as Forrestdale Lake, exist south of Perth, but they too are in danger (Giblett, Black Swan). The Beeliar Wetlands near the suburb of Bibra Lake comprise an interconnected series of lakes and swamps that are vulnerable to a highway extension project first proposed in the 1950s. Just as the Perth Town Trust debated Lake Kingsford’s draining, local councils and the public are fiercely contesting the construction of the Roe Highway, which will bisect Beeliar Wetlands, destroying Roe Swamp (Chinna). The conservation value of wetlands still struggles to compete with traffic planning underpinned by a modernist ideology that associates cars and freeways with progress (Gregory). Outside of archives, the debate about Lake Kingsford is almost entirely forgotten and its physical presence has been erased. Despite the magnitude of loss, re-imagining the city’s swamplands, in the way that we have, calls attention to past indiscretions while invigorating future possibilities. We hope that the re-imagining of Perth’s wetlands stimulates public respect for ancestral tracks and songlines like Balbuk’s. Despite the accretions of settler history and colonial discourse, songlines endure as a fundamental cultural heritage. Nyoongar elder Noel Nannup states, “as people, if we can get out there on our songlines, even though there may be farms or roads overlaying them, fences, whatever it is that might impede us from travelling directly upon them, if we can get close proximity, we can still keep our culture alive. That is why it is so important for us to have our songlines.” Just as Fanny Balbuk plied her songlines between Yoonderup and Lake Kingsford, the traditional custodians of Beeliar and other wetlands around Perth walk the landscape as an act of resistance and solidarity, keeping the stories of place alive. Acknowledgments The authors wish to acknowledge Rod Giblett (ECU), Nandi Chinna (ECU), Susanna Iuliano (ECU), Jeff Murray (Kareff Consulting), Dimitri Fotev (City of Perth), and Brendan McAtee (Landgate) for their contributions to this project. The authors also acknowledge the traditional custodians of the lands upon which this paper was researched and written. 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Melbourne: Bloomings Books, 2004.South West Aboriginal Land and Sea Council and John Host with Chris Owen. “It’s Still in My Heart, This is My Country:” The Single Noongar Claim History. Crawley: U of Western Australia P, 2009.Urban Bushland Council. “Bushland Issues.” 2015. 29 Sep. 2015 ‹http://www.bushlandperth.org.au/bushland-issues›.Welborn, Suzanne. Swan: The History of a Brewery. Crawley: U of Western Australia P, 1987.Weller, Richard. Boomtown 2050: Scenarios for a Rapidly Growing City. Crawley: U of Western Australia P, 2009. Whish-Wilson, David. Perth. Sydney: NewSouth Publishing, 2013.

Many years ago, while studying in Paris as a novice postgraduate, I was invited to accompany a friend to a seminar with Jacques Derrida. I leapt at the chance even though I was only just learning French. Although I tried hard to follow the discussion, the extent of my participation was probably signing the attendance sheet. Afterwards, caught up on the edges of a small crowd of acolytes in the foyer as we waited out a sudden rainstorm, Derrida turned to me and charmingly complimented me on my forethought in predicting rain, pointing to my umbrella. Flustered, I garbled something in broken French about how I never forgot my umbrella, how desolated I was that he had mislaid his, and would he perhaps desire mine? After a small silence, where he and the other students side-eyed me warily, he declined. For years I dined on this story of meeting a celebrity academic, cheerfully re-enacting my linguistic ineptitude. Nearly a decade later I was taken aback when I overheard a lecturer in philosophy at the University of Sydney re-telling my encounter as a witty anecdote, where an early career academic teased Derrida with a masterful quip, quoting back to him his own attention to someone else’s quote. It turned out that Spurs, one of Derrida’s more obscure early essays, employs an extended riff on an inexplicable citation found in inverted commas in the margins of Nietzsche’s papers: “J’ai oublié mon parapluie” (“I have forgotten my umbrella”). My clumsy response to a polite enquiry was recast in a process of Chinese whispers in my academic community as a snappy spur-of-the-moment witticism. This re-telling didn’t just selectively edit my encounter, but remixed it with a meta-narrative that I had myself referenced, albeit unknowingly. My ongoing interest in the more playful breaches of scholarly conventions of quotation and attribution can be traced back to this incident, where my own presentation of an academic self was appropriated and remixed from fumbler to quipster. I’ve also been struck throughout my teaching career by the seeming disconnect between the stringent academic rules for referencing and citation and the everyday strategies of appropriation that are inherent to popular remix culture. I’m taking the opportunity in this paper to reflect on the practice of scholarly quotation itself, before examining some recent creative provocations to the academic ‘author’ situated inventively at the crossroad between scholarly convention and remix culture. Early in his own teaching career at Oxford University Lewis Carroll, wrote to his younger siblings describing the importance of maintaining his dignity as a new tutor. He outlines the distance his college was at pains to maintain between teachers and their students: “otherwise, you know, they are not humble enough”. Carroll playfully describes the set-up of a tutor sitting at his desk, behind closed doors and without access to today’s communication technologies, relying on a series of college ‘scouts’ to convey information down corridors and staircases to the confused student waiting for instruction below. The lectures, according to Carroll, went something like this: Tutor: What is twice three?Scout: What’s a rice-tree?Sub-scout: When is ice free?Sub-sub-scout: What’s a nice fee??Student (timidly): Half a guinea.Sub-sub-scout: Can’t forge any!Sub-scout: Ho for jinny!Scout: Don’t be a ninny!Tutor (looking offended, tries another question): Divide a hundred by twelve.Scout: Provide wonderful bells!Sub-scout: Go ride under it yourself!Sub-sub-scout: Deride the dunderhead elf!Pupil (surprised): What do you mean?Sub-sub-scout: Doings between!Sub-scout: Blue is the screen!Scout: Soup tureen! And so the lecture proceeds… Carroll’s parody of academic miscommunication and misquoting was reproduced by Pierre Bourdieu at the opening of the book Academic Discourse to illustrate the failures of pedagogical practice in higher education in the mid 1960s, when he found scholarly language relied on codes that were “destined to dazzle rather than to enlighten” (3). Bourdieu et al found that students struggled to reproduce appropriately scholarly discourse and were constrained to write in a badly understood and poorly mastered language, finding reassurance in what he called a ‘rhetoric of despair’: “through a kind of incantatory or sacrificial rite, they try to call up and reinstate the tropes, schemas or words which to them distinguish professorial language” (4). The result was bad writing that karaoke-ed a pseudo academic discourse, accompanied by a habit of thoughtlessly patching together other peoples’ words and phrases. Such sloppy quoting activities of course invite the scholarly taboo of plagiarism or its extreme opposite, hypercitation. Elsewhere, Jacques Derrida developed an important theory of citationality and language, but it is intriguing to note his own considerable unease with conventional acknowledgement practices, of quoting and being quoted: I would like to spare you the tedium, the waste of time, and the subservience that always accompany the classic pedagogical procedures of forging links, referring back to past premises or arguments, justifying one’s own trajectory, method, system, and more or less skilful transitions, re-establishing continuity, and so on. These are but some of the imperatives of classical pedagogy with which, to be sure, one can never break once and for all. Yet, if you were to submit to them rigorously, they would very soon reduce you to silence, tautology and tiresome repetition. (The Ear of the Other, 3) This weariness with a procedural hyper-focus on referencing conventions underlines Derrida’s disquiet with the self-protecting, self-promoting and self-justifying practices that bolster pedagogical tradition and yet inhibit real scholarly work, and risk silencing the authorial voice. Today, remix offers new life to quoting. Media theorist Lev Manovich resisted the notion that the practice of ‘quotation’ was the historical precedent for remixing, aligning it instead to the authorship practice of music ‘sampling’ made possible by new electronic and digital technology. Eduardo Navas agrees that sampling is the key element that makes the act of remixing possible, but links its principles not just to music but to the preoccupation with reading and writing as an extended cultural practice beyond textual writing onto all forms of media (8). A crucial point for Navas is that while remix appropriates and reworks its source material, it relies on the practice of citation to work properly: too close to the original means the remix risks being dismissed as derivative, but at the same time the remixer can’t rely on a source always being known or recognised (7). In other words, the conceptual strategies of remix must rely on some form of referencing or citation of the ideas it sources. It is inarguable that advances in digital technologies have expanded the capacity of scholars to search, cut/copy &amp; paste, collate and link to their research sources. New theoretical and methodological frameworks are being developed to take account of these changing conditions of academic work. For instance, Annette Markham proposes a ‘remix methodology’ for qualitative enquiry, arguing that remix is a powerful tool for thinking about an interpretive and adaptive research practice that takes account of the complexity of contemporary cultural contexts. In a similar vein Cheré Harden Blair has used remix as a theoretical framework to grapple with the issue of plagiarism in the postmodern classroom. If, following Roland Barthes, all writing is “a tissue of quotations drawn from innumerable centers of culture” (146), and if all writing is therefore rewriting, then punishing students for plagiarism becomes problematic. Blair argues that since scholarly writing has become a mosaic of digital and textual productions, then teaching must follow suit, especially since teaching, as a dynamic, shifting and intertextual enterprise, is more suited to the digital revolution than traditional, fixed writing (175). She proposes that teachers provide a space in which remixing, appropriation, patch-writing and even piracy could be allowable, even useful and productive: “a space in which the line is blurry not because students are ignorant of what is right or appropriate, or because digital text somehow contains inherent temptations to plagiarise, but because digital media has, in fact, blurred the line” (183). The clashes between remix and scholarly rules of attribution are directly addressed by the pedagogical provocations of conceptual poet Kenneth Goldsmith, who has developed a program of ‘uncreative writing’ at the University of Pennsylvania, where, among other plagiaristic tasks, he forces students to transcribe whole passages from books, or to download essays from online paper mills and defend them as their own, marking down students who show a ‘shred of originality’. In his own writing and performances, which depend almost exclusively on strategies of appropriation, plagiarism and recontextualisation of often banal sources like traffic reports, Goldsmith says that he is working to de-familiarise normative structures of language. For Goldsmith, reframing language into another context allows it to become new again, so that “we don’t need the new sentence, the old sentence re-framed is good enough”. Goldsmith argues for the role of the contemporary academic and creative writer as an intelligent agent in the management of masses of information. He describes his changing perception of his own work: “I used to be an artist, then I became a poet; then a writer. Now when asked, I simply refer to myself as a word processor” (Perloff 147). For him, what is of interest to the twenty-first century is not so much the quote that ‘rips’ or tears words out of their original context, but finding ways to make new ‘wholes’ out of the accumulations, filterings and remixing of existing words and sentences. Another extraordinary example of the blurring of lines between text, author and the discursive peculiarities of digital media can be found in Jonathan Lethem’s essay ‘An Ecstasy of Influence: A Plagiarism’, which first appeared in Harpers Magazine in 2007. While this essay is about the topic of plagiarism, it is itself plagiarized, composed of quotes that have been woven seamlessly together into a composite whole. Although Lethem provides a key at the end with a list of his sources, he has removed in-text citations and quotation marks, even while directly discussing the practices of mis-quotation and mis-attribution throughout the essay itself. Towards the end of the essay can be found the paragraph: Any text is woven entirely with citations, references, echoes, cultural languages, which cut across it through and through in a vast stereophony. The citations that go to make up a text are anonymous, untraceable, and yet already read; they are quotations without inverted commas. The kernel, the soul — let us go further and say the substance, the bulk, the actual and valuable material of all human utterances — is plagiarism. …By necessity, by proclivity, and by delight, we all quote. Neurological study has lately shown that memory, imagination, and consciousness itself is stitched, quilted, pastiched. If we cut-and-paste ourselves, might we not forgive it of our artworks? (68) Overall, Lethem’s self-reflexive pro-plagiarism essay reminds the reader not only of how ideas in literature have been continuously recycled, quoted, appropriated and remixed, but of how open-source cultures are vital for the creation of new works. Lethem (re)produces rather than authors a body of text that is haunted by ever present/absent quotation marks and references. Zara Dinnen suggests that Lethem’s essay, like almost all contemporary texts produced on a computer, is a provocation to once again re-theorise the notion of the author, as not a rigid point of origin but instead “a relay of alternative and composite modes of production” (212), extending Manovich’s notion of the role of author in the digital age of being perhaps closest to that of a DJ. But Lethem’s essay, however surprising and masterfully intertextual, was produced and disseminated as a linear ‘static’ text. On the other hand, Mark Amerika’s remixthebook project first started out as a series of theoretical performances on his Professor VJ blog and was then extended into a multitrack composition of “applied remixology” that features sampled phrases and ideas from a range of artistic, literary, musical, theoretical and philosophical sources. Wanting his project to be received not as a book but as a hybridised publication and performance art project that appears in both print and digital forms, remixthebook was simultaneously published in a prestigious university press and a website that works as an online hub and teaching tool to test out the theories. In this way, Amerika expands the concept of writing to include multimedia forms composed for both networked environments and also experiments with what he terms “creative risk management” where the artist, also a scholar and a teacher, is “willing to drop all intellectual pretence and turn his theoretical agenda into (a) speculative play” (xi). He explains his process halfway through the print book: Other times we who create innovative works of remix artare fully self-conscious of the rival lineagewe spring forth fromand knowingly take on other remixological styles just to seewhat happens when we move insideother writers’ bodies (of work)This is when remixologically inhabitingthe spirit of another writer’s stylistic tendenciesor at least the subconsciously imagined writerly gesturesthat illuminate his or her live spontaneous performancefeels more like an embodied praxis In some ways this all seems so obvious to me:I mean what is a writer anyway buta simultaneous and continuous fusion ofremixologically inhabited bodies of work? (109) Amerika mashes up the jargon of academic writing with avant-pop forms of digital rhetoric in order to “move inside other writers’ bodies (of work)” in order to test out his theoretical agenda in an “embodied praxis” at the same time that he shakes up the way that contemporary scholarship itself is performed. The remixthebook project inevitably recalls one of the great early-twentieth century plays with scholarly quotation, Walter Benjamin’s The Arcades Project. Instead of avoiding conventional quoting, footnoting and referencing, these are the very fabric of Benjamin’s sprawling project, composed entirely of quotes drawn from nineteenth century philosophy and literature. This early scholarly ‘remixing’ project has been described as bewildering and oppressive, but which others still find relevant and inspirational. Marjorie Perloff, for instance, finds the ‘passages’ in Benjamin’s arcades have “become the digital passages we take through websites and YouTube videos, navigating our way from one Google link to another and over the bridges provided by our favourite search engines and web pages" (49). For Benjamin, the process of collecting quotes was addictive. Hannah Arendt describes his habit of carrying little black notebooks in which "he tirelessly entered in the form of quotations what daily living and reading netted him in the way of 'pearls' and 'coral'. On occasion he read from them aloud, showed them around like items from a choice and precious collection" (45). A similar practice of everyday hypercitation can be found in the contemporary Australian performance artist Danielle Freakley’s project, The Quote Generator. For what was intended in 2006 to be a three year project, but which is still ongoing, Freakley takes the delirious pleasure of finding and fitting the perfect quote to fit an occasion to an extreme. Unlike Benjamin, Freakley didn’t collect and collate quotes, she then relied on them to navigate her way through her daily interactions. As The Quote Generator, Freakley spoke only in quotations drawn from film, literature and popular culture, immediately following each quote with its correct in-text reference, familiar to academic writers as the ‘author/date’ citation system. The awkwardness and seeming artificiality of even short exchanges with someone who responds only in quotes might be bewildering enough, but the inclusion of the citation after the quote maddeningly interrupts and, at the same time, adds another metalevel to a conversation where even the simple platitude ‘thank you’ might be followed by an attribution to ‘Deep Throat 1972’. Longer exchanges become increasingly overwhelming, as Freakley’s piling of quote on quote, and sometimes repeating quotes, demands an attentive listener, as is evident in a 2008 interview with Andrew Denton on the ABC’s Enough Rope: Andrew Denton’s Enough Rope (2008) Denton: So, you’ve been doing this for three years??Freakley: Yes, Optus 1991Denton: How do people respond to you speaking in such an unnatural way?Freakley: It changes, David Bowie 1991. On the streets AKA Breakdance 1984, most people that I know think that I am crazy, Billy Thorpe 1972, a nigger like me is going insane, Cyprus Hill 1979, making as much sense as a Japanese instruction manual, Red Dwarf 1993. Video documentation of Freakley’s encounters with unsuspecting members of the public reveal how frustrating the inclusion of ‘spoken’ references can be, let alone how taken aback people are on realising they never get Freakley’s own words, but are instead receiving layers of quotations. The frustration can quickly turn hostile (Denton at one point tells Freakley to “shut up”) or can prove contaminatory, as people attempt to match or one-up her quotes (see Cook's interview 8). Apparently, when Freakley continued her commitment to the performance at a Perth Centerlink, the staff sent her to a psychiatrist and she was diagnosed with an obsessive-compulsive disorder, then prescribed medication (Schwartzkoff 4). While Benjamin's The Arcades Project invites the reader to scroll through its pages as a kind of textual flaneur, Freakley herself becomes a walking and talking word processor, extending the possibilities of Amerika’s “embodied praxis” in an inescapable remix of other people’s words and phrases. At the beginning of the project, Freakley organised a card collection of quotes categorised into possible conversation topics, and devised a ‘harness’ for easy access. Image: Danielle Freakley’s The Quote Generator harness Eventually, however, Freakley was able to rely on her own memory of an astounding number of quotations, becoming a “near mechanical vessel” (Gottlieb 2009), or, according to her own manifesto, a “regurgitation library to live by”: The Quote Generator reads, and researches as it speaks. The Quote Generator is both the reader and composer/editor. The Quote Generator is not an actor spouting lines on a stage. The Quote Generator assimilates others lines into everyday social life … The Quote Generator, tries to find its own voice, an understanding through throbbing collations of others, constantly gluttonously referencing. Much academic writing quotes/references ravenously. New things cannot be said without constant referral, acknowledgement to what has been already, the intricate detective work in the barking of the academic dog. By her unrelenting appropriation and regurgitating of quotations, Freakley uses sampling as a technique for an extended performance that draws attention to the remixology of everyday life. By replacing conversation with a hyper-insistence on quotes and their simultaneous citation, she draws attention to the artificiality and inescapability of the ‘codes’ that make up not just ordinary conversations, but also conventional academic discourse, what she calls the “barking of the academic dog”. Freakley’s performance has pushed the scholarly conventions of quoting and referencing to their furthest extreme, in what has been described by Daine Singer as a kind of “endurance art” that relies, in large part, on an antagonistic relationship to its audience. In his now legendary 1969 “Double Session” seminar, Derrida, too, experimented with the pedagogical performance of the (re)producing author, teasing his earnest academic audience. It is reported that the seminar began in a dimly lit room lined with blackboards covered with quotations that Derrida, for a while, simply “pointed to in silence” (177). In this seminar, Derrida put into play notions that can be understood to inform remix practices just as much as they do deconstruction: the author, originality, mimesis, imitation, representation and reference. Scholarly conventions, perhaps particularly the quotation practices that insist on the circulation of rigid codes of attribution, and are defended by increasingly out-of-date understandings of contemporary research, writing and teaching practices, are ripe to be played with. Remix offers an expanded discursive framework to do this in creative and entertaining ways. References Amerika, Mark. remixthebook. Minneapolis: University of Minnesota Press, 2011. 29 July 2013 http://www.remixthebook.com/. Arendt, Hannah. “Walter Benjamin: 1892-1940.” In Illuminations. New York, NY: Shocken, 1969: 1-55. Barthes, Roland. “The Death of the Author.” Image Music Text. Trans Stephen Heath. New York: Hill and Wang, 1977: 142-148. Benjamin, Walter. The Arcades Project. Ed. Rolf Tiedemann, trans. Howard Eiland &amp; Kevin McLaughlin. Cambridge, MA: Harvard University Press, 1999. Blaire, Cheré Harden. “Panic and Plagiarism: Authorship and Academic Dishonesty in a Remix Culture.” Media Tropes 2.1 (2009): 159-192. Bourdieu, Pierre, Jean-Claude Passeron, and Monique de Saint Martin. Academic Discourse: Linguistic Misunderstanding and Professorial Power. Trans. Richard Teese. Stanford California: Stanford University Press, 1965. Carroll, Lewis (Charles Dodgson). “Letter to Henrietta and Edwin Dodgson 31 Jan 1855”. 15 July 2013 http://en.wikiquote.org/wiki/Letters_of_Lewis_Carroll. Cook, Richard. “Don’t Quote Me on That.” Time Out Sydney (2008): 8. http://rgcooke.wordpress.com/2008/02/13/interview-danielle-freakley.Denton, Andrew. “Interview: The Quote Generator.” Enough Rope. 29 Feb. 2008. ABC TV. 15 July 2013 http://www.youtube.com/watch?v=AsrGvwXsenE. Derrida, Jacques. Spurs, Nietzsche’s Styles. Trans. Barbara Harlow. London: University of Chicago Press, 1978. Derrida, Jacques. The Ear of the Other: Otobiography, Text, Transference. Trans Peggy Kampf. New York: Shocken Books, 1985. Derrida, Jacques. “The Double Session”. Dissemination. Trans Alan Bass, Chicago, University of Chicago Press, 1981. Dinnen, Zara. "In the Mix: The Potential Convergence of Literature and New Media in Jonathan Letham's 'The Ecstasy of Influence'". Journal of Narrative Theory 42.2 (2012). Freakley, Danielle. The Quote Generator. 2006 to present. 10 July 2013 http://www.thequotegenerator.com/. Goldsmith, Kenneth. Uncreative Writing. New York: University of Colombia Press 2011. Gottlieb, Benjamin. "You Shall Worship No Other Artist God." Art &amp; Culture (2009). 15 July 2013 http://www.artandculture.com/feature/999. Lethem, Jonathan. “The Ecstasy of Influence: A Plagiarism.” Harper’s Magazine, Feb. 2007: 59-71. http://harpers.org/archive/2007/02/the-ecstasy-of-influence/. Manovich, Lev. "What Comes after Remix?" 2007. 15 July 2013 http://manovich.net/LNM/index.html. Markham, Annette. “Remix Methodology.” 2013. 9 July 2013 http://www.markham.internetinquiry.org/category/remix/.Morris, Simon (dir.). Sucking on Words: Kenneth Goldsmith. 2007. http://www.ubu.com/film/goldsmith_sucking.html.Navas, Eduardo. Remix Theory: The Aesthetics of Sampling. New York: Springer Wein, 2012. Perloff, Marjorie. Unoriginal Genius: Poetry by Other Means in the New Century. Chicago: University of Chicago Press, 2010. Schwartzkoff, Louise. “Art Forms Spring into Life at Prima Vera.” Sydney Morning Herald 19 Sep. 2008: Entertainment, 4. http://www.smh.com.au/news/entertainment/arts/art-forms-spring-into-life-at-primavera/2008/09/18/1221331045404.html.Singer, Daine (cur.). “Pains in the Artists: Endurance and Suffering.” Blindside Exhibition. 2007. 2 June 2013 http://www.blindside.org.au/2007/pains-in-the-artists.shtml.

&#x0D; &#x0D; &#x0D; Perhaps nothing in media culture today makes clearer the connection between people’s bodies and their homes than the Emmy-winning reality TV program Extreme Makeover: Home Edition. Home Edition is a spin-off from the original Extreme Makeover, and that fact provides in fundamental form the strong connection that the show demonstrates between bodies and houses. The first EM, initially popular for its focus on cosmetic surgery, laser skin and hair treatments, dental work, cosmetics and wardrobe for mainly middle-aged and self-described unattractive participants, lagged after two full seasons and was finally cancelled entirely, whereas EMHE has continued to accrue viewers and sponsors, as well as accolades (Paulsen, Poniewozik, EMHE Website, Wilhelm). That viewers and the ABC network shifted their attention to the reconstruction of houses over the original version’s direct intervention in problematic bodies indicates that sites of personal transformation are not necessarily within our own physical or emotional beings, but in the larger surround of our environments and in our cultural ideals of home and body. One effect of this shift in the Extreme Makeover format is that a seemingly wider range of narrative problems can be solved relating to houses than to the particular bodies featured on the original show. Although Extreme Makeover featured a few people who’d had previously botched cleft palate surgeries or mastectomies, as Cressida Heyes points out, “the only kind of disability that interests the show is one that can be corrected to conform to able-bodied norms” (22). Most of the recipients were simply middle-aged folks who were ordinary or aged in appearance; many of them seemed self-obsessed and vain, and their children often seemed disturbed by the transformation (Heyes 24). However, children are happy to have a brand new TV and a toy-filled room decorated like their latest fantasy, and they thereby can be drawn into the process of identity transformation in the Home Edition version; in fact, children are required of virtually all recipients of the show’s largess. Because EMHE can do “major surgery” or simply bulldoze an old structure and start with a new building, it is also able to incorporate more variety in its stories—floods, fires, hurricanes, propane explosions, war, crime, immigration, car accidents, unscrupulous contractors, insurance problems, terrorist attacks—the list of traumas is seemingly endless. Home Edition can solve any problem, small or large. Houses are much easier things to repair or reconstruct than bodies. Perhaps partly for this reason, EMHE uses disability as one of its major tropes. Until Season 4, Episode 22, 46.9 percent of the episodes have had some content related to disability or illness of a disabling sort, and this number rises to 76.4 percent if the count includes families that have been traumatised by the (usually recent) death of a family member in childhood or the prime of life by illness, accident or violence. Considering that the percentage of people living with disabilities in the U.S. is defined at 18.1 percent (Steinmetz), EMHE obviously favours them considerably in the selection process. Even the disproportionate numbers of people with disabilities living in poverty and who therefore might be more likely to need help—20.9 percent as opposed to 7.7 percent of the able-bodied population (Steinmetz)—does not fully explain their dominance on the program. In fact, the program seeks out people with new and different physical disabilities and illnesses, sending out emails to local news stations looking for “Extraordinary Mom / Dad recently diagnosed with ALS,” “Family who has a child with PROGERIA (aka ‘little old man’s disease’)” and other particular situations (Simonian). A total of sixty-five ill or disabled people have been featured on the show over the past four years, and, even if one considers its methods maudlin or exploitive, the presence of that much disability and illness is very unusual for reality TV and for TV in general. What the show purports to do is to radically transform multiple aspects of individuals’ lives—and especially lives marred by what are perceived as physical setbacks—via the provision of a luxurious new house, albeit sometimes with the addition of automobiles, mortgage payments or college scholarships. In some ways the assumptions underpinning EMHE fit with a social constructionist body theory that posits an almost infinitely flexible physical matter, of which the definitions and capabilities are largely determined by social concepts and institutions. The social model within the disability studies field has used this theoretical perspective to emphasise the distinction between an impairment, “the physical fact of lacking an arm or a leg,” and disability, “the social process that turns an impairment into a negative by creating barriers to access” (Davis, Bending 12). Accessible housing has certainly been one emphasis of disability rights activists, and many of them have focused on how “design conceptions, in relation to floor plans and allocation of functions to specific spaces, do not conceive of impairment, disease and illness as part of domestic habitation or being” (Imrie 91). In this regard, EMHE appears as a paragon. In one of its most challenging and dramatic Season 1 episodes, the “Design Team” worked on the home of the Ziteks, whose twenty-two-year-old son had been restricted to a sub-floor of the three-level structure since a car accident had paralyzed him. The show refitted the house with an elevator, roll-in bathroom and shower, and wheelchair-accessible doors. Robert Zitek was also provided with sophisticated computer equipment that would help him produce music, a life-long interest that had been halted by his upper-vertebra paralysis. Such examples abound in the new EMHE houses, which have been constructed for families featuring situations such as both blind and deaf members, a child prone to bone breaks due to osteogenesis imperfecta, legs lost in Iraq warfare, allergies that make mold life-threatening, sun sensitivity due to melanoma or polymorphic light eruption or migraines, fragile immune systems (often due to organ transplants or chemotherapy), cerebral palsy, multiple sclerosis, Krabbe disease and autism. EMHE tries to set these lives right via the latest in technology and treatment—computer communication software and hardware, lock systems, wheelchair-friendly design, ventilation and air purification set-ups, the latest in care and mental health approaches for various disabilities and occasional consultations with disabled celebrities like Marlee Matlin. Even when individuals or familes are “[d]iscriminated against on a daily basis by ignorance and physical challenges,” as the program website notes, they “deserve to have a home that doesn’t discriminate against them” (EMHE website, Season 3, Episode 4). The relief that they will be able to inhabit accessible and pleasant environments is evident on the faces of many of these recipients. That physical ease, that ability to move and perform the intimate acts of domestic life, seems according to the show’s narrative to be the most basic element of home. Nonetheless, as Robert Imrie has pointed out, superficial accessibility may still veil “a static, singular conception of the body” (201) that prevents broader change in attitudes about people with disabilities, their activities and their spaces. Starting with the story of the child singing in an attempt at self-comforting from Deleuze and Guattari’s A Thousand Plateaus, J. MacGregor Wise defines home as a process of territorialisation through specific behaviours. “The markers of home … are not simply inanimate objects (a place with stuff),” he notes, “but the presence, habits, and effects of spouses, children, parents, and companions” (299). While Ty Pennington, EMHE’s boisterous host, implies changes for these families along the lines of access to higher education, creative possibilities provided by musical instruments and disability-appropriate art materials, help with home businesses in the way of equipment and licenses and so on, the families’ identity-producing habits are just as likely to be significantly changed by the structural and decorative arrangements made for them by the Design Team. The homes that are created for these families are highly conventional in their structure, layout, decoration, and expectations of use. More specifically, certain behavioural patterns are encouraged and others discouraged by the Design Team’s assumptions. Several themes run through the show’s episodes: Large dining rooms provide for the most common of Pennington’s comments: “You can finally sit down and eat meals together as a family.” A nostalgic value in an era where most families have schedules full of conflicts that prevent such Ozzie-and-Harriet scenarios, it nonetheless predominates. Large kitchens allow for cooking and eating at home, though featured food is usually frozen and instant. In addition, kitchens are not designed for the families’ disabled members; for wheelchair users, for instance, counters need to be lower than usual with open space underneath, so that a wheelchair can roll underneath the counter. Thus, all the wheelchair inhabitants depicted will still be dependent on family members, primarily mothers, to prepare food and clean up after them. (See Imrie, 95-96, for examples of adapted kitchens.) Pets, perhaps because they are inherently “dirty,” are downplayed or absent, even when the family has them when EMHE arrives (except one family that is featured for their animal rescue efforts); interestingly, there are no service dogs, which might obviate the need for some of the high-tech solutions for the disabled offered by the show. The previous example is one element of an emphasis on clutter-free cleanliness and tastefulness combined with a rampant consumerism. While “cultural” elements may be salvaged from exotic immigrant families, most of the houses are very similar and assume a certain kind of commodified style based on new furniture (not humble family hand-me-downs), appliances, toys and expensive, prefab yard gear. Sears is a sponsor of the program, and shopping trips for furniture and appliances form a regular part of the program. Most or all of the houses have large garages, and the families are often given large vehicles by Ford, maintaining a positive take on a reliance on private transportation and gas-guzzling vehicles, but rarely handicap-adapted vans. Living spaces are open, with high ceilings and arches rather than doorways, so that family members will have visual and aural contact. Bedrooms are by contrast presented as private domains of retreat, especially for parents who have demanding (often ill or disabled) children, from which they are considered to need an occasional break. All living and bedrooms are dominated by TVs and other electronica, sometimes presented as an aid to the disabled, but also dominating to the point of excluding other ways of being and interacting. As already mentioned, childless couples and elderly people without children are completely absent. Friends buying houses together and gay couples are also not represented. The ideal of the heterosexual nuclear family is thus perpetuated, even though some of the show’s craftspeople are gay. Likewise, even though “independence” is mentioned frequently in the context of families with disabled members, there are no recipients who are disabled adults living on their own without family caretakers. “Independence” is spoken of mostly in terms of bathing, dressing, using the bathroom and other bodily aspects of life, not in terms of work, friendship, community or self-concept. Perhaps most salient, the EMHE houses are usually created as though nothing about the family will ever again change. While a few of the projects have featured terminally ill parents seeking to leave their children secure after their death, for the most part the families are considered oddly in stasis. Single mothers will stay single mothers, even children with conditions with severe prognoses will continue to live, the five-year-old will sleep forever in a fire-truck bed or dollhouse room, the occasional grandparent installed in his or her own suite will never pass away, and teenagers and young adults (especially the disabled) will never grow up, marry, discover their homosexuality, have a falling out with their parents or leave home. A kind of timeless nostalgia, hearkening back to Gaston Bachelard’s The Poetics of Space, pervades the show. Like the body-modifying Extreme Makeover, the Home Edition version is haunted by the issue of normalisation. The word ‘normal’, in fact, floats through the program’s dialogue frequently, and it is made clear that the goal of the show is to restore, as much as possible, a somewhat glamourised, but status quo existence. The website, in describing the work of one deserving couple notes that “Camp Barnabas is a non-profit organisation that caters to the needs of critically and chronically ill children and gives them the opportunity to be ‘normal’ for one week” (EMHE website, Season 3, Episode 7). Someone at the network is sophisticated enough to put ‘normal’ in quotation marks, and the show demonstrates a relatively inclusive concept of ‘normal’, but the word dominates the show itself, and the concept remains largely unquestioned (See Canguilhem; Davis, Enforcing Normalcy; and Snyder and Mitchell, Narrative, for critiques of the process of normalization in regard to disability). In EMHE there is no sense that disability or illness ever produces anything positive, even though the show also notes repeatedly the inspirational attitudes that people have developed through their disability and illness experiences. Similarly, there is no sense that a little messiness can be creatively productive or even necessary. Wise makes a distinction between “home and the home, home and house, home and domus,” the latter of each pair being normative concepts, whereas the former “is a space of comfort (a never-ending process)” antithetical to oppressive norms, such as the association of the home with the enforced domesticity of women. In cases where the house or domus becomes a place of violence and discomfort, home becomes the process of coping with or resisting the negative aspects of the place (300). Certainly the disabled have experienced this in inaccessible homes, but they may also come to experience a different version in a new EMHE house. For, as Wise puts it, “home can also mean a process of rationalization or submission, a break with the reality of the situation, self-delusion, or falling under the delusion of others” (300). The show’s assumption that the construction of these new houses will to a great extent solve these families’ problems (and that disability itself is the problem, not the failure of our culture to accommodate its many forms) may in fact be a delusional spell under which the recipient families fall. In fact, the show demonstrates a triumphalist narrative prevalent today, in which individual happenstance and extreme circumstances are given responsibility for social ills. In this regard, EMHE acts out an ancient morality play, where the recipients of the show’s largesse are assessed and judged based on what they “deserve,” and the opening of each show, when the Design Team reviews the application video tape of the family, strongly emphasises what good people these are (they work with charities, they love each other, they help out their neighbours) and how their situation is caused by natural disaster, act of God or undeserved tragedy, not their own bad behaviour. Disabilities are viewed as terrible tragedies that befall the young and innocent—there is no lung cancer or emphysema from a former smoking habit, and the recipients paralyzed by gunshots have received them in drive-by shootings or in the line of duty as police officers and soldiers. In addition, one of the functions of large families is that the children veil any selfish motivation the adults may have—they are always seeking the show’s assistance on behalf of the children, not themselves. While the Design Team always notes that there are “so many other deserving people out there,” the implication is that some people’s poverty and need may be their own fault. (See Snyder and Mitchell, Locations 41-67; Blunt and Dowling 116-25; and Holliday.) In addition, the structure of the show—with the opening view of the family’s undeserved problems, their joyous greeting at the arrival of the Team, their departure for the first vacation they may ever have had and then the final exuberance when they return to the new house—creates a sense of complete, almost religious salvation. Such narratives fail to point out social support systems that fail large numbers of people who live in poverty and who struggle with issues of accessibility in terms of not only domestic spaces, but public buildings, educational opportunities and social acceptance. In this way, it echoes elements of the medical model, long criticised in disability studies, where each and every disabled body is conceptualised as a site of individual aberration in need of correction, not as something disabled by an ableist society. In fact, “the house does not shelter us from cosmic forces; at most it filters and selects them” (Deleuze and Guattari, What Is Philosophy?, qtd. in Frichot 61), and those outside forces will still apply to all these families. The normative assumptions inherent in the houses may also become oppressive in spite of their being accessible in a technical sense (a thing necessary but perhaps not sufficient for a sense of home). As Tobin Siebers points out, “[t]he debate in architecture has so far focused more on the fundamental problem of whether buildings and landscapes should be universally accessible than on the aesthetic symbolism by which the built environment mirrors its potential inhabitants” (“Culture” 183). Siebers argues that the Jamesonian “political unconscious” is a “social imaginary” based on a concept of perfection (186) that “enforces a mutual identification between forms of appearance, whether organic, aesthetic, or architectural, and ideal images of the body politic” (185). Able-bodied people are fearful of the disabled’s incurability and refusal of normalisation, and do not accept the statistical fact that, at least through the process of aging, most people will end up dependent, ill and/or disabled at some point in life. Mainstream society “prefers to think of people with disabilities as a small population, a stable population, that nevertheless makes enormous claims on the resources of everyone else” (“Theory” 742). Siebers notes that the use of euphemism and strategies of covering eventually harm efforts to create a society that is home to able-bodied and disabled alike (“Theory” 747) and calls for an exploration of “new modes of beauty that attack aesthetic and political standards that insist on uniformity, balance, hygiene, and formal integrity” (Culture 210). What such an architecture, particularly of an actually livable domestic nature, might look like is an open question, though there are already some examples of people trying to reframe many of the assumptions about housing design. For instance, cohousing, where families and individuals share communal space, yet have private accommodations, too, makes available a larger social group than the nuclear family for social and caretaking activities (Blunt and Dowling, 262-65). But how does one define a beauty-less aesthetic or a pleasant home that is not hygienic? Post-structuralist architects, working on different grounds and usually in a highly theoretical, imaginary framework, however, may offer another clue, as they have also tried to ‘liberate’ architecture from the nostalgic dictates of the aesthetic. Ironically, one of the most famous of these, Peter Eisenman, is well known for producing, in a strange reversal, buildings that render the able-bodied uncomfortable and even sometimes ill (see, in particular, Frank and Eisenman). Of several house designs he produced over the years, Eisenman notes that his intention was to dislocate the house from that comforting metaphysic and symbolism of shelter in order to initiate a search for those possibilities of dwelling that may have been repressed by that metaphysic. The house may once have been a true locus and symbol of nurturing shelter, but in a world of irresolvable anxiety, the meaning and form of shelter must be different. (Eisenman 172) Although Eisenman’s starting point is very different from that of Siebers, it nonetheless resonates with the latter’s desire for an aesthetic that incorporates the “ragged edge” of disabled bodies. Yet few would want to live in a home made less attractive or less comfortable, and the “illusion” of permanence is one of the things that provide rest within our homes. Could there be an architecture, or an aesthetic, of home that could create a new and different kind of comfort and beauty, one that is neither based on a denial of the importance of bodily comfort and pleasure nor based on an oppressively narrow and commercialised set of aesthetic values that implicitly value some people over others? For one thing, instead of viewing home as a place of (false) stasis and permanence, we might see it as a place of continual change and renewal, which any home always becomes in practice anyway. As architect Hélène Frichot suggests, “we must look toward the immanent conditions of architecture, the processes it employs, the serial deformations of its built forms, together with our quotidian spatio-temporal practices” (63) instead of settling into a deadening nostalgia like that seen on EMHE. If we define home as a process of continual territorialisation, if we understand that “[t]here is no fixed self, only the process of looking for one,” and likewise that “there is no home, only the process of forming one” (Wise 303), perhaps we can begin to imagine a different, yet lovely conception of “house” and its relation to the experience of “home.” Extreme Makeover: Home Edition should be lauded for its attempts to include families of a wide variety of ethnic and racial backgrounds, various religions, from different regions around the U.S., both rural and suburban, even occasionally urban, and especially for its bringing to the fore how, indeed, structures can be as disabling as any individual impairment. That it shows designers and builders working with the families of the disabled to create accessible homes may help to change wider attitudes and break down resistance to the building of inclusive housing. However, it so far has missed the opportunity to help viewers think about the ways that our ideal homes may conflict with our constantly evolving social needs and bodily realities. References Bachelard, Gaston. The Poetics of Space. Tr. Maria Jolas. Boston: Beacon Press, 1969. Blunt, Alison, and Robyn Dowling. Home. London and New York: Routledge, 2006. Canguilhem, Georges. The Normal and the Pathological. New York: Zone Books, 1991. Davis, Lennard. Bending Over Backwards: Disability, Dismodernism &amp; Other Difficult Positions. New York: NYUP, 2002. ———. Enforcing Normalcy: Disability, Deafness, and the Body. New York: Verso, 1995. Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Tr. B. Massumi. Minneapolis: University of Minnesota Press, 1987. ———. What Is Philosophy? Tr. G. Burchell and H. Tomlinson. London and New York: Verso, 1994. Eisenman, Peter Eisenman. “Misreading” in House of Cards. New York: Oxford University Press, 1987. 21 Aug. 2007 http://prelectur.stanford.edu/lecturers/eisenman/biblio.html#cards&gt;. Peter Eisenman Texts Anthology at the Stanford Presidential Lectures and Symposia in the Humanities and Arts site. 5 June 2007 http://prelectur.stanford.edu/lecturers/eisenman/texts.html#misread&gt;. “Extreme Makeover: Home Edition” Website. 18 May 2007 http://abc.go.com/primetime/xtremehome/index.html&gt;; http://abc.go.com/primetime/xtremehome/show.html&gt;; http://abc.go.com/primetime/xtremehome/bios/101.html&gt;; http://abc.go.com/primetime/xtremehome/bios/301.html&gt;; and http://abc.go.com/primetime/xtremehome/bios/401.html&gt;. Frank, Suzanne Sulof, and Peter Eisenman. House VI: The Client’s Response. New York: Watson-Guptill, 1994. Frichot, Hélène. “Stealing into Gilles Deleuze’s Baroque House.” In Deleuze and Space, eds. Ian Buchanan and Gregg Lambert. Deleuze Connections Series. Toronto: University of Toronto P, 2005. 61-79. Heyes, Cressida J. “Cosmetic Surgery and the Televisual Makeover: A Foucauldian feminist reading.” Feminist Media Studies 7.1 (2007): 17-32. Holliday, Ruth. “Home Truths?” In Ordinary Lifestyles: Popular Media, Consumption and Taste. Ed. David Bell and Joanne Hollows. Maidenhead, Berkshire, England: Open UP, 2005. 65-81. Imrie, Rob. Accessible Housing: Quality, Disability and Design. London and New York: Routledge, 2006. Paulsen, Wade. “‘Extreme Makeover: Home Edition’ surges in ratings and adds Ford as auto partner.” Reality TV World. 14 October 2004. 27 March 2005 http://www.realitytvworld.com/index/articles/story.php?s=2981&gt;. Poniewozik, James, with Jeanne McDowell. “Charity Begins at Home: Extreme Makeover: Home Edition renovates its way into the Top 10 one heart-wrenching story at a time.” Time 20 Dec. 2004: i25 p159. Siebers, Tobin. “Disability in Theory: From Social Constructionism to the New Realism of the Body.” American Literary History 13.4 (2001): 737-754. ———. “What Can Disability Studies Learn from the Culture Wars?” Cultural Critique 55 (2003): 182-216. Simonian, Charisse. Email to network affiliates, 10 March 2006. 18 May 2007 http://www.thesmokinggun.com/archive/0327062extreme1.html&gt;. Snyder, Sharon L., and David T. Mitchell. Cultural Locations of Disability. Chicago: U of Chicago P, 2006. ———. Narrative Prosthesis: Disability and the Dependencies of Discourse. Ann Arbor: University of Michigan Press, 2000. Steinmetz, Erika. Americans with Disabilities: 2002. U.S. Department of Commerce, Economics, and Statistics Administration, U.S. Census Bureau, 2006. 15 May 2007 http://www.census.gov/prod/2006pubs/p70-107.pdf&gt;. Wilhelm, Ian. “The Rise of Charity TV (Reality Television Shows).” Chronicle of Philanthropy 19.8 (8 Feb. 2007): n.p. Wise, J. Macgregor. “Home: Territory and Identity.” Cultural Studies 14.2 (2000): 295-310. &#x0D; &#x0D; &#x0D; &#x0D; Citation reference for this article&#x0D; &#x0D; MLA Style&#x0D; Roney, Lisa. "The Extreme Connection Between Bodies and Houses." M/C Journal 10.4 (2007). echo date('d M. Y'); ?&gt; &lt;http://journal.media-culture.org.au/0708/03-roney.php&gt;. APA Style&#x0D; Roney, L. (Aug. 2007) "The Extreme Connection Between Bodies and Houses," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?&gt; from &lt;http://journal.media-culture.org.au/0708/03-roney.php&gt;. &#x0D;

International Journal on Bioinformatics &amp; Biosciences (IJBB) Vol.3, No.3, September 2013 DOI: 10.5121/ijbb.2013.3301 1 A MORPHOLOGICAL MULTIPHASE ACTIVE CONTOUR FOR VASCULAR SEGMENTATION Victoria L. Fox1 , Mariofana Milanova2 , and Salim Al-Ali3 1Department of Applied Science, University of Arkansas at Little Rock, USA 2Department of Computer Science, University of Arkansas at Little Rock, USA 2Department of Computer Science, University of Arkansas at Little Rock, USA ABSTRACT This paper presents a morphological active contour ideal for vascular segmentation in biomedical images. The unenhanced images of vessels and background are successfully segmented using a two-step morphological active contour based upon Chan and Vese&rsquo;s Active Contour without Edges. Using dilation and erosion as an approximation of curve evolution, the contour provides an efficient, simple, and robust alternative to solving partial differential equations used by traditional level-set Active Contour models. The proposed method is demonstrated with segmented data set images and compared to results garnered from multiphase Active Contour without Edges, morphological watershed, and Fuzzy C-means segmentations. KEYWORDS Active Contour, Morphology, Segmentation, Curve Evolution 1. INTRODUCTION Image segmentation is responsible for partitioning an image into sub-regions based on a desired feature and is an essential first task in many disciplines. Biomedical segmentation separates a medical image into different regions based upon pathology, anatomical structure, tissue classes, or many other inherent criteria. Often, these partitions are challenging to construct due to noise, low contrast, and image artefacts embedded in the figure. Methods for biomedical segmentation range from basic thresholding techniques [1],fuzzy logic approaches[2], to intricate partial differential equation models[3]. 1.1. Segmentation Techniques Using the assumption that regions of interest in an image are identifiable by separating intensity values, thresholding sets a value in which pixels above the threshold are grouped as the region of interest and pixels below are segmented as background pixels. For images with sharp edges, the method proves effective; once influenced by speckle or varying intensity levels, this approach loses its effectiveness. Region growing techniques build on the idea of thresholding by starting with a seed pixel known to be inside the region of interest. Using a threshold, the neighbourhood of the seed pixel is categorized as foreground or background. This process then performs a search through the pixels of the image classifying each. However, it is difficult to set a threshold which completely confines the region of interest and image leakage is a common shortcoming of the method [4]. International Journal on Bioinformatics &amp; Biosciences (IJBB) Vol.3, No.3, September 2013 2 Fuzzy logic approaches have the advantage of allowing a pixel to belong to multiple clusters in the segmentation. To determine the clusters in which to assign a pixel, the algorithm sets a degree of belonging to each cluster for the pixel. Using this reasoning, a pixel on the edge of the region of interest will have a lower degree of belonging to the cluster than a pixel located near the center of the region of interest. The flexibility inherent in the method involves a trade-off in increased computational complexity. Additionally, noisy images cause a decrease in accuracy of the method [5] due to the nature of its clustering methodology. However, because of its flexibility, a popular fuzzy model &ndash; the Fuzzy C-means method &ndash; is widely used in segmentation of medical images. Segmentation methods based on minimization of energy functionals are commonly referred to as active contour methods and are popular due to their ability to always produce sub regions with continuous boundaries. The original active contour method, the snake, and its variations [6 -11] are disposed to large error results when dealing with &ldquo;false&rdquo; edges and noisy images. Several implementations, such as the minimal path technique by Cohen et al. [12-13] or dual snakes [14], and other similar methods [15-19], have been suggested to correct the error associated with challenging images. Unfortunately, all of these classical snakes and active contour models can only detect objects with edges defined by the gradient, and, as expected, the performance of the totally edge based methods is often inadequate. In the past two decades, the creation of a region-based functional that is less likely to give unwanted local minima when compared to the simpler, edge-based energy functions has been an area of active research. The region-based models [20], use information not only near the active contour, but image statistics both inside and outside the contour. In 2001, Chan and Vese [21], based a region-based functional on the Mumford-Shah functional to propose an active contour without edges. For the Active Contours without Edges, the functional of a curve ࣝ is (1) ܨܿ)ଵ , ܿଶ + ((ࣝ)inside(area ∙ ݒ + (ࣝ)length ∙ ߤ = (ࣝ , ߣଵ&int;௜௡௦௜ௗ௘ ࣝ ࣝ ௘ௗ௜௨௧௦&int;௢ଶߣ + ࢞݀‖ଵ) &minus; ܿ࢞)ܫ‖ ,ݔ݀‖ଶ) &minus; ܿݔ)ܫ‖ where the non-negative parameters ߤ ,ݒ ,ߣଵ , ߣଶ control the strength of each term and ܿଵ , ܿଶ provide the statistics of the interior and exterior regions of the contour, respectively.The energy in the Chan-Vese model can be seen as a particular case of the minimal partition problem, and the active contour is evolved in the level set formulation. With the introduction of the Chan-Vese model, region-based models could now handle objects with boundaries not necessarily gradientdefined. However, the computations for the pixel intensities within each region had a high computational cost. Many variations, such as [22] in which the simplicity of the k-means algorithm is utilized or [23] in which the algorithm directly calculates the energy alterations rather than solving the underlying PDE equations, have been proposed to improve the efficiency and accuracy of the Chan-Vese model. 1.2. Morphological Active Contours Morphological approaches for image processing include operators for denoising, enhancing, and simplification [24]. In the setting of segmentation, morphology has played a direct role in the evolution of a discrete scheme for the mean curvature motion of level sets [25]. In edge based active contour methods, the contour is composed of three components: a balloon force, a smoothing force, and an edge attraction force. Region based models also contain a balloon force and a smoothing force. Since such models take into account the statistics of the interior and exterior regions of the contour, there is a need to replace the edge attraction force with an image attachment term which provides the statistics needed for the formulation. International Journal on Bioinformatics &amp; Biosciences (IJBB) Vol.3, No.3, September 2013 3 Recent studies in the effectiveness of using morphological operators to drive curve evolution focus primarily on the development of a sequence of erosions and dilations with specific structuring elements. In Jalba and Roerdink&rsquo;s research [26], the authors detail a discrete approach to curve evolution. By iteratively eroding an input set embedding the initial curve by a morphological structuring element, the authors partially segmented a 2D vascular image and successfully segmented the bones of the human feet in a CT scan.The partial segmentation of the 2D image is explained as a result of sacrificing accuracy for efficiency. For Alarez et al., the study [27] is concerned with a full morphological scheme which approximates the action of the Geodesic Active Contour model curve evolution. The scheme is further extended in [25] to an approximation of Active Contours without Edges and turbo pixels. The morphological aspects of the scheme occur in the approximation of the balloon force and smoothing force for the Geodesic Active Contour model and primarily in the smoothing force in the Active Contour without Edges Model. As the morphological equivalent of the mean curvature motion, the smoothing force is comprised of a series linear structuring elements iteratively applied to the contour. In our approach, we also use a structuring element iteratively applied to the contour to approximate the mean curvature motion of a level-set active contour. Our structuring element is more straightforward in implementation than the series of linear structuring elements applied in [25] or [27] and we achieve more accurate results than Jalba and Roerdink&rsquo;s 2D segmentation. The implementation of the scheme is efficient and robust to noise, blurred edges, and image artefacts in the medical images and easily be extended into three-dimensional applications. Finally, it relies upon region based statistics and can be fully automated in segmentation applications. 2. A MORPHOLOGICAL ACTIVE CONTOUR FORMULATION The underlying principle of mean curvature motion is the evolution of a simple closed curve whose points move in the direction of the normal with specified velocity [28]. Figure 1: Motion of a curve by curvature. The arrows represent the velocity at some points. Here, the velocity is a nondecreasing function of the curvature. In the level set framework, ࣝ is implicitly represented by a higher dimensional Lipschtiz function ߶ where ࣝ)} = ݔ ,ݕ)߶|(ݔ ,ݕ = (0}. The deforming curve is given by the zero level set at time ݐ of function ߶(ݔ ,ݕ,ݐ .(Evolving the curve in its normal direction with speed ܨ can be achieved by solving (2) డథ ,‖߶&nabla;‖ܨ = డ௧ with the initial condition of ߶(ݔ ,ݕ ,0) = ߶଴(ݔ ,ݕ ,(where ߶଴(ݔ ,ݕ (is the initial signed distance function of ࣝ .For the Active Contour without Edges functional (1), the steepest descent method gives us this variation of (2): International Journal on Bioinformatics &amp; Biosciences (IJBB) Vol.3, No.3, September 2013 4 (3) డథ ଶ &minus; ܿܫ)]ߣ + ݒ &minus; &kappa; ∙ ߤ} = డ௧ ) ଶ &minus; (ܫܿ &minus; ଵ ) ଶ ]}‖&nabla;߶‖. In solving for ߶, it is important to note that &kappa; represents the level set curvature and ܿଵ = average(ܫ(in {߶ &ge; 0} and ܿଶ = average(ܫ (in {߶ &lt; 0}. The first term of ܨ in (3) represents the curvature flow and minimizes the curve length; the second term represents inward motion at a constant speed and minimizes the region area; while the last term represents region competition through the statistics of each region. Focusing on the curvature flow, ܨச = ߢߤ ,in [28] it is shown that iterating k times a median filter using a window of size ߝ converges when ߝ &rarr; 0, ݇ &rarr; &infin;, ߝ &rarr; ݇ݐ to the mean curvature flow. Additionally, it has also been shown that a median filter can be approximated by a binary morphological opening-closing filter [30] where the structuring element of the opening-closing filter is roughly half the size of the structuring element of the median filter. The structuring element ,ℬ, in [28] is the representation of the unit ball created by the Euclidean norm ‖∙‖. Letting ℬௗ represent the discrete version of this structuring element in two-dimensional applications, the authors of this paper chose to use a square structuring element of size d as the closest discrete representation of the continuous case.Therefore, the iterative morphological curvature flow can be represented by (4) ߶௞ାଵ = (߶௞ ○ ℬௗ )ℬௗ, where &lsquo;○&rsquo; denotes set opening and &lsquo;&rsquo; denotes set closing. Moving to the second term in (3), inward motion at a constant speed, ܨ&minus; = ௖ݒ ,with ݒ nonnegative, a weak solution for the PDE describing inwards curve motion at constant speed can be given by eroding the embedded curve k times [26, 28, 31]. Thus, the iterative morphological constant speed for inwards curve motion can be described by (5) ߶௞ାଵ = ߶௞ ⊖ ݇ℬௗ, where &lsquo;⊖&rsquo; represents morphological erosion. Likewise, the iterative morphological constant speed for outwards curve motion can be approximated by dilating the embedded curve k times and can be represented by (6) ߶௞ାଵ = ߶௞⨁݇ℬௗ. Finally, in [32] the Heaviside function was introduced to improve the Active Contours without Edges for multiphase segmentation. Due to the nature of the vascular images this paper references, the proposed method incorporates the Heaviside function in its formulation of the region competition portion of (3). Specifically, the Heaviside function can be expressed as ൜ = (߶)ܪ (7( 1,݂݅ ߶ &ge; 0 0,݂݅ ߶ &lt; 0 and the region competition portion of (1) becomes (8) ߣଵ&int;௜௡௦௜ௗ௘ ࣝ ଵ) &minus; ܿ࢞)ܫ‖ ࣝ ௘ௗ௜௨௧௦&int;௢ଶߣ + ࢞݀(߶)ܪ‖ ଶ) &minus; ܿݔ)ܫ‖ .ݔ݀((߶)ܪ &minus; 1‖( The computations ܿଵ and ܿଶ are relatively straight forward and do not contain much computational complexity. It is obvious that (9) ܿଵ = &int;ஐ ࢞݀(߶)ܪ ∙ ܫ &int;ఆ ࢞݀(߶)ܪ ൘ ܿଶ = &int;ఆ ࢞݀((߶)ܪ &minus; 1 ∙ (ܫ &int;ఆ ࢞݀((߶)ܪ &minus; 1( ൘ International Journal on Bioinformatics &amp; Biosciences (IJBB) Vol.3, No.3, September 2013 5 and the proposed method uses the approximations of (9) to help deriving the morphological approximation of the region competition term in (3). Fundamentally, when (10) ߣଶ |&nabla;ϕ|(ܫܿ &minus; ଶ) ଶ &lt; ߣଵ (ଵ &minus; ܿܫ)|߶ߘ| ଶ ࢞ at ࢞belongs to the exterior of the contour. When the inequality is reversed, ࢞belongs to the interior. If the inequality becomes an equality, e.g. ߣଶ |&nabla;ϕ|(ܫܿ &minus; ଶ) ଶ = ߣଵ (ଵ &minus; ܿܫ)|߶ߘ| ଶ , then ࢞is located on the contour. With these three terms defined, the algorithm for the proposed method can be described as (11) ܵݐ݁݌ 1: ߶భ య = ൜ ߶଴ ⊖ ݇ℬௗ ݂݅ ݒ &lt; 0 ߶଴⨁݇ℬௗ ݂݅ ݒ &gt; 0 మ: ߶2 ݌݁ݐܵ య = ⎩ ⎪ ⎨ ⎪ ⎧߶భ య ଶߣ ݂݅ ฬߘ߶భ య ฬ (ܫܿ &minus; ଶ ) ଶ = ߣଵ ฬߘ߶భ య ฬ (ܫܿ &minus; ଵ ) ଶ 1 ݂݅ ߣଶ ฬߘ߶భ య ฬ (ܫܿ &minus; ଶ) ଶ &gt; ߣଵ ฬߘ߶భ య ฬ (ܫܿ &minus; ଵ) ଶ 0݂݅ ߣଶ ฬߘ߶భ య ฬ (ܫܿ &minus; ଶ ) ଶ &lt; ߣଵ ฬߘ߶భ య ฬ (ܫܿ &minus; ଵ ) ଶ ܵݐ݁݌ 3: ߶ = ൬߶మ య ○ ℬௗ൰ ℬௗ. which is the of a morphological implementation of a multiphase Active Contour without Edges. 3.IMPLEMENTATION SPECIFICS The implementation of equation (11) is fairly straightforward; however a few comments about the approximation calculations are worth discussing. Foremost, ߶ is stored as a binary function. The morphological erosions, dilations, closings, and openings are defined as binary operations in this application. It would be trivial to extend the operations to grayscale values, less trivial for an extension into color or multispectral images. |&nabla;߶|is approximated by the magnitude of the gradient, namely ට߶௫ ଶ + ߶௬ ଶ where ߶௫ and ߶௬ are computed using finite differences. The Matlab code used to approximate |&nabla;߶| is %--Calculate gradient of u [m,n]=size(u); P = padarray(u,[1,1],1,&#39;pre&#39;); P = padarray(P,[1,1],1,&#39;post&#39;); fy = P(3:end,2:n+1)-P(1:m,2:n+1); fx = P(2:m+1,3:end)-P(2:m+1,1:n); G = (fx.^2+fy.^2).^(0.5); %magnitude of gradient %--end calculation of gradient of u. Additionally, the mean curvature operator,(߶௞ ○ ℬௗ )ℬௗ, can also be expressed as (߶௞ℬௗ )○ℬௗfor the evolution of ߶. To help equalize the influence of both expressions, the implementation of the operators alternate(߶௞ ○ ℬௗ )ℬௗ and (߶௞ℬௗ )○ℬௗ throughout the iterations of the main loop. Finally, the choice of the structuring element for our implementation is a square structuring element of size three. In discrete form, the structuring element would take the shape of International Journal on Bioinformatics &amp; Biosciences (IJBB) Vol.3, No.3, September 2013 6 1 1 1 1 1 1 1 1 1 Figure 2: A square structuring element of size 3. The selection of this structuring element came from the need to discretize the unit ball structuring element used in continuous morphology. Discretizing the morphology is equivalent to discretizing its structuring element, therefore the square structuring element provided a unit area discretization for a three-by-three window in our curve evolution. In the following section, we will compare the results of the morphological multiphase active contour with the numerical solution to the multiphase Active Contours without Edges contour. In the partial differential equation methods, the algorithms deteriorate the level set function to the point where it is no longer a signed difference function. To fix this shortcoming, it is common to reinitialize the level-set. In the traditional numerical implementation, we chose to use (12) ߶௞ = ߶௞ିଵ ට߶௞ିଵ ߝ + ଶ ൙ ଶ after each iteration of the numerical solution to &ldquo;re-sign&rdquo; the level set function. Our morphological multiphase contour did not require a re-initialization step. 4. EXPERIMENTAL RESULTS The images used in the experiments were gathered from the Laboratory of Biomedical Imaging datasets [33]. The images were not contrast enhanced and were acquired with a 50o fundus camera and digitized with a scanner at 1100x1300 pixels. The authors chose to use the images of vessels pre-processed by a normalization algorithm [34] in a TIF non-compressed color format. Each image was segmented by both algorithms &ndash; morphological and traditional &ndash; andtwo otherestablished algorithms &ndash; the morphological watershed method and the fuzzy c-means &ndash; and results in the efficiency and quality of the segmentations were compiled. The results of the experiments underscore the advantages in terms of computational resources, simplicity, and robustness of the morphological algorithm. 4.1. Morphological and Numerical Active Contours without Edges Experiments The parameters used in this part of the experiment are the same for both algorithms: ݒ = 0, ߣଵ = ߣଶ = 1. Each experimental trial is timed for completion and iterations are recorded. The first image we use (Arteria-10.tif in the dataset) in our comparison study is an image with a delineated, central vessel. Figure 3 details the original image and the result of segmentation of the image with each algorithm after 300 iterations of each. The morphological algorithm quickly completes the segmentation in 3.1 seconds while the traditional, numerical solution does not finish the segmentation in the given iterations and takes 9.3 seconds to perform the 300 iterations. Due to the strong demarcation of main vessels and surrounding tissue, this particular image does not present a difficult challenge in the region statistics (competition) part of either formulation. International Journal on Bioinformatics &amp; Biosciences (IJBB) Vol.3, No.3, September 2013 7 (a) (b) (c) Figure 3: (a) initial grayscale image, (b) result of Morphological multiphase active contour after 300 iterations (c) result of traditional multiphase Active Contour without Edges after 300 iterations. The following experiment is conducted on the Arteria-209 image in the dataset. This image yields a faint outline of the vessels and has more intensity homogeneity throughout the image. As a result, the traditional algorithm does not fare well in the segmentation test. The morphological segmentation takes 676 iterations to completely segment the vessel in the image and completes the segmentation in 7 seconds. The multiphase numerical solution takes 31 seconds to achieve 700 iterations and does not successfully segment the image in those iterations. Figure 4 displays the results of this experiment. (a) (b) (c) Figure 4: (a) initial grayscale image, (b) result of Morphological multiphase active contour after 676 iterations, (c) result of traditional multiphase Active Contour without Edges after 700 iterations. The final exhibition of the success of the morphological segmentation over the numerical solution of the Active Contours without edges can be seen in Figure 5. In this experiment, we use the image Arteria-248. This image is chosen as a challenge image due to its intensity homogeneity, complexity in terms of vessels to detect, and the inhomogeneity of the vessels in the image. The morphological active contour completes the segmentation in 7.8 seconds with 712 iterations. The Active Contours without Edges algorithm takes1092 iterations and 79.4 seconds to achieve a partial segmentation. (a) (b) (c) Figure 5: (a) initial grayscale image, (b) result of Morphological multiphase active contour after 712 iterations, (c) result of traditional multiphase Active Contour without Edges after 1092 iterations. 4.2. Morphological Active Contours with Edges and Watershed Experiments An established and respected method of segmentation in the medical imaging field, morphological watershed segmentation is a benchmark of comparison for new methods. The efficiency of the watershed method is one of its attractive attributes and since it is almost entirely of morphological operations, it will provide an accurate comparison of efficiency and robustness of the proposed method. In watershed segmentation, a gray-level image viewed as a topological relief in which the gray level of a given pixel is interpreted as its height. The flooding method of watershed segmentation consists in placing a water source in each regional minimum, flooding the relief from sources, and building barriers when different sources meet [35]. The resulting barriers constitute the International Journal on Bioinformatics &amp; Biosciences (IJBB) Vol.3, No.3, September 2013 8 segmentation of the image. Using Matlab functionality, we segmented the same three images &ndash; Arteria-10.tif, Arteria-209.tif, and Arteria-248.tif &ndash; with the watershed method and compared segmentation results to the morphological multiphase active contour results. (a1) (b1) (c1) (a2) (b2) (c2) (a3) (b3) (c3) Figure 6:( a1), (a2), and( a3) are original input images, (b1),( b2), (b3) are the segmentation results of the morphological multiphase active contour,(c1),(c2),(c3) are the segmentation results of the morphological watershed method. Since the watershed method is a benchmark method of medical segmentation, the comparison of the segmentations of the two methods clearly shows the morphological active contour method segments vessel images more far more accurately than the watershed method. In efficiency, while the morphological watershed is, on average, faster than the morphological active contour, its lack of accuracy causes the efficiency of the algorithm to be of little significance. 4.3. Morphological Active Contours without Edges and Fuzzy c-Means Experiments Clustering is the process of dividing data elements into classes or clusters so that items in the same class are as similar as possible and items in different classes are as dissimilar as possible. In fuzzy clustering, however, membership values are assigned to pixels that determine the degree to which each pixel belongs to similar and dissimilar classes. Therefore, the measures of similarity and dissimilarity drive fuzzy clustering algorithms.Using this reasoning, a pixel on the edge of the region of interest will have a lower degree of similarity to the cluster than a pixel located near the center of the region of interest. The flexibility inherent in the method in makes fuzzy clustering a natural for the segmentation of complex medical images [35]. In Fuzzy c-means segmentation, the iterative clustering method produces an optimal c partition by minimizing the degree of membership within the group sum of a squared error objective function. The algorithm, traditionally, performs well with low-noise images and any inhomogeneity of object intensity levels does not affect its results. Due to the nature of the images we are using, the fuzzy c-means algorithm is an appropriate algorithm to compare our proposed method.In our experiments, we used a stock fuzzy c-means algorithm to segment the three trial images and then compare the segmentation to the results of the morphological active contour method. International Journal on Bioinformatics &amp; Biosciences (IJBB) Vol.3, No.3, September 2013 9 (a1) (b1) (c1) (a2) (b2) (c2) (a3) (b3) (c3) Figure 7: ( a1), (a2), and( a3) are original input images, (b1),( b2), (b3) are the segmentation results of the morphological multiphase active contour,(c1),(c2),(c3) are the segmentation results of the fuzzy c-means algorithm. The performance of the fuzzy c-means algorithm is the closest in accuracy to our morphological active contour. However, there are inaccurate sections in the fuzzy c-means segmentation. The first image resulted in over segmentation while the noise/lack of inhomogeneity in the second image resulted in the method over segmenting as well. The third image, chosen for its complexity and variety of intensity levels, provides the optimal situation for a fuzzy c-means algorithm to perform. However, in comparison to our method it did not perform as well and identified objects not belonging to the desired regions of interest as foreground objects. In efficiency, the fuzzy c-means completes the three segmentations in 33 iterations in 4 seconds for Arteria-10, 41 iterations and 4.5 seconds for Arteria-209, and in 46 iterations in 8.1 seconds for Arteria-248. While the times are comparable to our proposed methods, all but the third image do not approach the accuracy garnered from using the morphological active contour scheme. Table 1 summarizes the results of all of the experiments involving the three trial images. Table 1: Experimental Results Method Arteria-10 Arteria-209 Arteria-248 Iterations Time Segmented Iterations Time Segmented Iteration Time Segmented Morphological active contour 300 3.1 s yes 676 7 s yes 712 7.8 s yes Active Contour without Edges 300 9.3 s no 700 31 s no 1092 79.4 s no Watershed n/a 3 s no n/a 3 s no n/a 3 s no Fuzzy cMeans 33 4 s no 41 4.5 s Over segmented 46 8 s Over segmented International Journal on Bioinformatics &amp; Biosciences (IJBB) Vol.3, No.3, September 2013 10 5. CONCLUSIONS This paper introduces a new morphological multiphase active contour model. Based on the multiphase implementation of the Chan-Vese Active Contour without Edges, the morphological active contour efficiently and robustly segmented the trial vascular images. Additionally, it outperformed three of the more commonly used segmentation routines in medical imaging: Active Contour without Edges, morphological watershed, and Fuzzy c-means. The implementation of the morphological multiphase active contour is simpler and has fewer parameters than the numerical version. Additionally, there are no instability issues and no need to re-initialize the level set. The conducted experiments with the trial vascular images confirm the solutions obtained with the morphological active contour are more accurate in two of the numerical schemes and comparable to the results obtained with fuzzy c-means in one of the trial images. In efficiency, morphological active contours outperform the traditional functional gradient descent counterparts in terms of stability, robustness, and speed. In comparison to the watershed method, the lack of accuracy in the morphological watershed rendered its speed and stability null in comparison to the morphological active contour. The fuzzy c-means algorithm performed more efficiently, but less accurately than the proposed method. The experiments we have conducted are very promising. The use of the Heaviside function in the image competition portion of the functional lead to more flexibility in the implementation while the structuring element provided an efficient, simple means to approximate mean curvature. We obtained good segmentation results in a variety of vascular images. In future work, the algorithm will be extended to other types of images and to multispectral/color applications. ACKNOWLEDGEMENTS The authors would like to thank Dr. S. Piermarocchi, from the Department of Ophthamology, University of Padova, Italy, for kindly providing the fundas images and the manual tortuosity grading. Additonally, the authors would like to thank the Laboratory of Biomedical Imaging, University of Padova, Italy, for posting the dataset on their webpage: http://bioimlab.dei.unipd.it/Retinal%20Vessel%20Tortuosity.htm . 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[34] Foracchia, Marco, Enrico Grisan, and Alfredo Ruggeri. &quot;Luminosity and contrast normalization in retinal images.&quot; Medical Image Analysis 9.3 (2005): 179-190. [35] Noor, N. M., et al. &quot;Comparing watershed and FCM segmentation in detecting reticular pattern for interstitial lung disease.&quot; Biomedical Engineering and Sciences (IECBES), 2012 IEEE EMBS Conference on.IEEE, 2012. Authors Currently a graduate student in Computational Science at University of Arkansas at Little Rock, Victoria L. Fox is also a mathematics instructor for the University of Arkansas at Monticello. Her professional interests include morphological image processing, segmentation of natural images, and the incorporation of fuzzy logic in multispectral image segmentation. MariofonnaMilanova is a Professor of Computer Science Department at the University of Arkansas at Little Rock since 2001.She received her M. Sc. degree in Expert Systems and AI in 1991 and her Ph.D. degree in Computer Science in 1995 from the Technical University, Sofia, Bulgaria. Dr.Milanova did her post-doctoral research in visual perception at the University of Paderborn, Germany. She has extensive academic experience at various academic and research organizations in different countries. Milanova serves as a book editor of two books and associate editor of several international journals. Her main research interests are in the areas of artificial intelligence, biomedical signal processing and computational neuroscience, computer vision and communications, machine learning, and privacy and security based on biometric research. She has published and co-authored more than 70 publications, over 43 journal papers, 7 book chapters, numerous conference papers and 2 patents. Salim Al-Ali is a Ph.D. graduate student in the integrated computing of computer science department at University of Arkansas at Little Rock (UALR). He received a master degree from computer science department, Baghdad University, Iraq on 1995. He is working as a teacher in Dohuk Technical Institute at Dohuk Polytechnic University. His research interest field is computer vision in general, human action recognition, image and video understanding.