Journal articles on the topic 'Mark galer'

Seleksi secara fenotipik, terutama terhadap cekaman abiotik, seringkali sulit dilakukan. Kegiatan seleksi secara molekuler diperlukan untuk mengidentifikasi hingga taraf molekuler bahwa suatu sifat toleran terbukti secara genotipik. Tujuan dari penelitian ini ialah untuk mengkonfirmasi sifat toleransi kekeringan galur-galur padi secara molekuler menggunakan marka SSR RM164, RM228, RM248, dan RM328. Penelitian dilaksanakan di Laboratorium Bioteknologi LIPI, Cibinong pada bulan November hingga Desember 2017, menggunakan teknik polymerase chain reaction (PCR). Hasil penelitian menunjukkan bahwa marka RM228 terkait dengan karakter skor menggulung, panjang malai, tinggi tanaman dan umur berbunga, sedangkan RM328 terkait dengan panjang malai, jumlah anakan, jumlah gabah isi per malai, dan produktivitas. Marka tersebut diduga dapat digunakan untuk seleksi toleransi kekeringan. Tujuh dari sepuluh galur yang terindikasi toleran terhadap cekaman kekeringan fase generatif berdasarkan skrining secara artifisial terkonfirmasi secara molekuler berada dalam satu kelompok dengan varietas pembanding toleran ‘Limboto’. Ketujuh galur tersebut ialah B13983E-KA-12-2, B13507E-MR-19, B14366E-KY-50, BP20452e-PWK-0-SKI-1-1, BP20452e-PWK-0-SKI-2-4, BP20452e-PWK-0-SKI-3-3, dan BP29790d-PWK-3-SKI-1-5. Kata kunci: marka, toleransi kekeringan, polymerase chain reaction

Identification marker of bacterial leaf blight (BLB) gene resistance on introducted and dihaploid rice germplasm. Bacterial leaf blight (BLB), caused by bacterial pathogen Xanthomonas oryzae pv. oryzae (Xoo), is one of the most devastating diseases in rice. The use of BLB-resistant rice varieties is one of the most efficient ways to protect rice from this disease. BLB-resistant varieties can be produced through the breeding program by using the diverse rice germplasm. The objective of this research was to identify BLB resistance gene on 37 introducted and dihaploid rice lines derived from wide genetic background double crossing from local rice : IR54/Parekaligolara and Bio110/Markuti, by using the molekular markers. As control plant used 23 differential varieties (monogenic lines/IRBB) and TN1 (susceptible). All plants tested were inoculated by 3 selected dominant BLB races (Race III, IV dan VIII). The selected of 19 polymorphism molecular markers used to identify the BLB resistance genes on rice lines tested. The result of this research showed that 4 rice lines were resistance to all BLB races tested. Three molecular markers were specific associated with resistant gene to Race III (Xa7-STS40, Xa1-STS14 and Xa4-STS50); Race IV (Xa1-STS5, Xa4-STS50 and Xa26-STS1), and Race VIII (Xa21-STS6, Xa7-RM20590 and Xa7-STS40). These markers could be utilized for the selection process the developmen of BLB resistance rice lines breeding program.

<p>Perbaikan varietas padi untuk daerah yang memiliki masalah dengan ketersediaan P sangat penting dilakukan mengingat harga pupuk P yang semakin mahal, dan ketersediaan P di alam yang semakin sedikit. Lokus <em>Pup1</em> sebagai lokus yang berisi gen-gen yang berperan dalam penangkapan P telah dipetakan dengan baik dan marka-marka untuk seleksi sudah dibuat. Berdasarkan penelitian sebelumnya telah diperoleh galur-galur BC₂F₈ persilangan Dodokan x Kasalath, Dodokan x NIL-C443, Situ Bagendit x Kasalath, Situ Bagendit x NIL-C443, Batur x Kasalath, dan Batur x NIL-C443. Penelitian ini bertujuan untuk mengevaluasi galur-galur BC₂F₈ secara molekuler dan melihat potensi hasil pada dua lokasi yang berbeda. Penelitian berlangsung mulai bulan Nopember 2013 s.d. Juni 2014. Penelitian molekuler dilakukan di Laboratorium Biologi Molekuler, Balai Besar Penelitian dan Pengembangan Bioteknologi dan Sumber Daya Genetik Pertanian (BB Biogen), Bogor dan International Rice Research Institue (IRRI), Filipina, sedangkan penelitian lapang dilakukan di KP Taman Bogo, Lampung dan lahan petani di Sukabumi, Jawa Barat. Berdasarkan analisis molekuler diperoleh hasil seluruh galur-galur BC₂F₈ mengandung lokus <em>Pup1</em><em>, </em>namun ada tiga galur (BC₂F₈ Situ Bagendit x Kasalath #5, BC₂F₈ Situ Bagendit x NIL-C443 #2, dan BC₂F₈Batur x NIL-C443 #2) yang mengandung lokus <em>Pup1</em> dalam kondisi heterozigot. Sebagian besar galur-galur <em>Pup1</em> susunan genomnya masih mengikuti genom tetuanya, kecuali BC₂F₈ Situ Bagendit x Kasalath #7, BC₂F₈ Batur x NIL-C443 #4, dan #5. Pada percobaan di lapang menunjukkan galur-galur <em>Pup1</em> pada kondisi P tersedianya kurang mengalami pertumbuhan vegetatif jauh lebih besar dibanding dengan pada kondisi yang P nya cukup tersedia. Namun, pada tahap pengisian biji terjadi variasi hasil, dimana masalah tersebut masih diperlukan penelitian lebih lanjut. Galur-galur BC₂F₈Situ Bagendit x Kasalath #2, #3, #6, BC₂F₈ Situ Bagendit x NIL-C443 #1, #2, BC₂F₈Batur x Kasalath #4, #6, #7, BC₂F₈ Batur x NIL-C443 #3, #4, dan #5 memiliki potensi untuk dikembangkan di daerah dengan P tersedia sedikit ataupun banyak.<strong></strong></p>

Penulisan Laporan kali ini bertujuan menginformasikan tentang sebuah seni dalam perkembangan teknologi yang sangat pesat di era globalisasi saat ini yaitu fotografi, hampir diseluruh dunia yang serba digital kali ini fotografi mengambil peran penting di berbagai aspek kehidupan dan dapat menjadi sebuah jembatan antar bahasa bagi seluruh dunia, sehingga sangat bersinergi dengan media informasi dan platform media sosial yang sangat marak di era digital dan market place online. Fotografi memiliki perkembangan yang cukup pesat dan dampak yang sangat besar salah satunya dalam aspek pariwisata architourism. banyaknya eksistensi perlombaan fotografi sebagai salah satu cara marketing di era digital ini, dan juga daya beli kamera yang terus meningkat menunjukan bahwa Indonesia menerima dengan baik teknologi fotografi itu sendiri, berkaca dari kemajuan bidang fotografi yang pesat, khususnya di kota metropolitan Jakarta yang menjadikan titik acuan prospek strategis untuk menampung kegiatan praktik fotografi yang sangat kompleks dan cukup dapat mewarnai atmosfer dunia seni, pendidikan, perdagangan konvensional dan digital, parawisata, dan media lain dituangkan ke dalam suatu wadah galeri fotografi.

Abstrak Latar belakang penelitian ini adalah fenomena masyarakat luas yang terlihat kesadaran untuk berkunjung ke museum, terlihat pada akun sosial media masyarakat zaman sekarang yang semakin marak. Ruang pamer museum merupakan sebuah wadah aktivitas yang dilakukan pengguna dalam museum yang berfungsi sebagai elemen utama visualisasi, ruang sebagai program, dan ruang sebagai susunan tata letak. Sering ditemukannya ruang pamer yang tidak sesuai harapan dan lemahnya interaksi museum terhadap pengunjung, kegagalan kepuasan pengunjung terhadap ruang pamer dapat menjadi kendala menurunnya minat untuk datang kembali. Abstract The background of this study is a phenomenon of the wider community that shows awareness to visit the museum, seen in the social media accounts of today's society which are increasingly prevalent. The museum exhibition room is a place of activity carried out by users in the museum which functions as the main element of visualization, space as a program, and space as an arrangement of layout. Often found showrooms that do not match expectations and weak museum interaction with visitors, the failure of visitor satisfaction to the showroom can be an obstacle to the decline in interest in coming back.

Object In this prospective randomized clinical trial, investigators looked at wound healing after craniotomy. The hypothesis was that the self-closing plastic scalp clips used for hemostasis on the skin edge might lead to localized microscopic tissue damage and subsequent delayed wound healing. Methods The trial consisted of 2 arms in which different methods were used to secure scalp hemostasis: 1) the routinely used plastic clips (Scalpfix, Aesculap); and 2) the older method of artery forceps placed on the galea. Participants were restricted to those > 16 years of age undergoing craniotomies expected to last > 2 hours. Repeat operations were not included. One hundred fifty patients were enrolled. They were visited at 3 and 6 weeks postoperatively by an observer blinded to the method used, and the wounds were assessed for macroscopic epithelial closure, signs of infection, and hair regrowth by using a predefined assessment scale. Results The results showed no significant difference in wound healing between the 2 groups at either 3 weeks (OR 0.55, 95% CI 0.27–1.11; p = 0.09) or 6 weeks (OR 0.79, 95% CI 0.39–1.58; p = 0.50). The length of operation was found to be a significant factor affecting wound healing at 6 weeks (OR/hour 0.68, 95% CI 0.51–0.92; p = 0.01). Conclusions The use of Aesculap Scalpfix self-retaining plastic scalp clips on the skin edge during craniotomy surgery does not appear to affect wound healing significantly to the postoperative 6-week mark.

Un'inedita cronaca manoscritta tratta degli eventi vissuti e delle terre visitate o soltanto osservate nel corso di quindici navigazioni compiute dal suo autore, imbarcato su una delle galere dell'Ordine mediceo di Santo Stefano negli anni tra 1602-1616, all'interno dell'intero bacino del Mediterraneo. Le descrizioni, che non si limitano ai soli caratteri fisici, ma sono arricchite da note su struttura sociale, usanze e tradizioni, economia locale e principali risorse produttive, sono arricchite da circa 200 disegni. L'assoluta autonomia dell'autore, che scrive per se stesso e non per un committente da compiacere, induce a considerare le informazioni fornite come oggettive. Ciň consente di ricostruire l'immagine precisa e realistica di terre e popoli mediterranei, all'interno di un importante momento storico: l'etŕ delle guerre dei corsari e dei conflitti tra le principali potenze, impegnate a contendersi il predominio sul Mediterraneo e sull'Occidente (Francia, Spagna, Impero Ottomano), e gli Stati loro alleati. Particolarmente significativa, a tal proposito, č la descrizione dei territori ellenici, presenza importante a\ll'interno del manoscritto e in cui la cristianitŕ convive in maniera piů o meno pacifica con il nemico ottomano. Č uno scenario estremamente variegato, di cui l'autore mette in risalto le peculiaritŕ e le "stranezze" sia per quanto riguarda i sistemi urbani o comunque antropizzati, sia, soprattutto per ciň che riguarda gli aspetti antropologici e sociali, lontani dalla cultura e dalle tradizioni dell'autore.

Abstract Natural killer T (NKT) cells are innate-like T cells that recognize specific microbial antigens and also display autoreactivity to self-antigens. The nature of NKT-cell autoreactive activation remains poorly understood. We show here that the mitogen-activated protein kinase (MAPK) pathway is operative during human NKT-cell autoreactive activation, but calcium signaling is severely impaired. This results in a response that is biased toward granulocyte macrophage colony-stimulating factor (GM-CSF) secretion because this cytokine requires extracellular signal-regulated kinase (ERK) signaling but is not highly calcium dependent, whereas interferon-γ (IFN-γ), interleukin (IL)–4, and IL-2 production are minimal. Autoreactive activation was associated with reduced migration velocity but did not induce arrest; thus, NKT cells retained the ability to survey antigen presenting cells (APCs). IL-12 and IL-18 stimulated autoreactively activated NKT cells to secrete IFN-γ, and this was mediated by Janus kinase-signal transducers and activators of transcription (JAK-STAT)–dependent signaling without induction of calcium flux. This pathway did not require concurrent contact with CD1d+ APCs but was strictly dependent on preceding autoreactive stimulation that induced ERK activation. In contrast, NKT-cell responses to the glycolipid antigen α-galactosyl ceramide (α-GalCer) were dampened by prior autoreactive activation. These results show that NKT-cell autoreactivity induces restricted cytokine secretion and leads to altered basal activation that potentiates innate responsiveness to costimulatory cytokines while modulating sensitivity to foreign antigens.

Abstract Late antique Alexandria is much better known than the early Islamic city. To be fully appreciated, the transition must be contextualized against the full range of Afro-Eurasiatic commercial and intellectual life. The Alexandrian schools ‘harmonized’ Hippocrates and Galen, Plato and Aristotle. They also catalyzed Christian theology especially during the controversies before and after the Council of Chalcedon (451) that tore the Church apart and set the stage for the emergence of Islam. Alexandrian cultural dissemination down to the seventh century is here studied especially through evidence for the city’s libraries and book trade, together with the impact of its educational curriculum from Iran to Canterbury. After the Arab conquest, Alexandria turned into a frontier city and lost its economic and political role. But it became a city of the mind whose conceptual legacy fertilized not only Greek scholarship at Constantinople, but also Arabic science and philosophy thanks to the eighth- to ninth-century Baghdadi translation movement. Alexandria emanated occult energies too, thanks to the Pharos as variously misunderstood by Arabic writers, or the relics of its Christian saints, not least the Evangelist Mark, surreptitiously translated to Venice in 828-29. Study of the astral sciences too - astronomy but also astrology - was fertilized from Alexandria, as far afield as India and perhaps China as well as Syria, Baghdad and Constantinople. Egypt’s revival by the Fatimids, who founded Cairo in 961, had little impact on Alexandria until about the end of the eleventh century when, for a time, the city attracted Sunni scholars from as far away as Spain or Iran, while commerce benefited from the rise of the Italian merchant republics and the beginning of the Crusades. While the early caliphate had united a vast zone from Afghanistan to the Atlantic, the eleventh century saw a reemergence of late antique distinctions between the Iranian plateau, Syro-Mesopotamia, and the two Mediterranean basins. Alexandria was one of the points where these worlds intersected, though sub-Saharan Africa, to which it formally belonged, remained largely beyond its horizon until the twentieth century.

ABSTRACTMolecular Marker-based Selection on F2 Progeny for Development of Promising Rice Lines Resistant to Brown PlanthopperBrown planthopper (BPH) is the major insect pest of rice and accounts for significant yield loss. This experiment was aimed to develop BC1F1 and F3 brown planthopper resistant rice lines. Selection on the basis of SSR markers can be done by using two polymorphic SSR markers, i.e., RM586 dan RM8213, which screened from eight SSR markers for BPH resistant. Sixty-three F2 genotypes from IP-1 (derived from IR-64 x PTB-33) population and twenty F2 genotypes from PP-11 (derived from Pandan Wangi x PTB-33) population were selected and will be used for further research by selfed and backcrossed to recipient parents. Chi-squares test for segregation of DNA bands in F2 generation showed that RM8213 fitted with 1:2:1 Mendelian ratio for controlling photosynthetic rates and trichomes length in IP-1 population. This information could be used in programs to develop a durable brown planthopper resistant rice cultivar.Keywords: BPH, F2 population, Moleculer marker, SSRABSTRAKWereng coklat merupakan salah satu hama utama pada tanaman padi yang mampu menurunkan produksi padi secara nyata. Penelitian ini bertujuan untuk memperoleh galur-galur padi F2 yang memiliki marka-marka yang berasosisasi dengan ketahanannya terhadap wereng coklat. Seleksi pada galur padi F2 hasil persilangan telah dilakukan melalui teknik marka molekuler Simple Sequence Repeat (SSR) menggunakan dua marka SSR yang menunjukkan polimorphisme yaitu RM586 dan RM8213 dari delapan marka yang diskrining. Sebanyak 63 genotip dari populasi IP-1 (hasil persilangan IR-64 x PTB-33) dan 20 genotip dari populasi PP-11 (hasil persilangan Pandan Wangi x PTB-33) untuk disilangkan sendiri maupun disilang balik dengan tetua recipient. Selain itu, hasil analisis Chi-Kuadrat untuk segregasi pita DNA menunjukkan bahwa primer RM8213 memiliki rasio 1:2:1 (dominasi tidak sempurna) dalam mengontrol karakter laju fotosintesis dan panjang trikoma terhadap wereng coklat pada populasi IP-1. Informasi yang diperoleh dari penelitian ini nantinya dapat digunakan untuk program perakitan kultivar padi tahan wereng coklat yang durable.Kata Kunci: Marka molekuler, Populasi F2, SSR, Wereng coklat

ABSTRACTSeed Purity Testing of F3 Progeny of Rice Lines Derived from a Cross between Pandanwangi x PTB-33 Estimated by Simple Sequence Repeat MarkersSeeds with high purity is required to produce maximum crop yield. Genetic purity of selected F3rice seed progenies derived from a cross between Pandanwangi x PTB33 was estimated by SSR(simple sequence repeats) molecular markers. Objective of current experiment was to obtain riceseed with high genetic purity (100%) in terms of homogeneity of alleles. The experiment wasconducted at Laboratory of Plant Analysis and Biotechnology, meanwhile field experiment wasperformed at Ciparanje Experimental Station, Faculty of Agriculture, Universitas Padjadjaran.Based on primer designed by Bradbury (aromatic trait) and primers RM589 and RM586 (supposedto correlate with brown planthopper resistance gene), seeds of F3 selected had 100% geneticpurity. SSR markers applied for each offspring were able to demonstrate the purity of the seed.Genotypes with 100% genetic purity can be continued for propagating their seeds.Keywords: F3, seed purity, seed rice, SSR markersABSTRAKBenih dengan kemurnian genetik tinggi sangat diperlukan untuk produksi tanaman yangmaksimal. Kemurnian genetik padi generasi F3 hasil persilangan Pandanwangi x PTB-33 diestimasidengan menggunakan marka molekuler SSR. Percobaan ini bertujuan untuk mendapatkan generasiF3 yang memiliki kemurnian genetik 100%. Penelitian dilaksanakan di Kebun PercobaanCiparanje, Fakultas Pertanian Universitas Padjadjaran dan Laboratorium Analisis dan BioteknologiTanaman. Hasil analisis menggunakan primer Bradbury menunjukkan 100% benih murniberdasarkan karakter aromatik, begitupun berdasarkan karakter ketahanan terhadap wereng(primer RM589 dan RM586) menunjukkan 100% benih murni. Marka molekuler SSR yangdigunakan untuk verifikasi kemurnian mampu menunjukkan kemurnian genetik benih padi yangtinggi. Genotip PP dapat dilanjutkan untuk pengujian dan atau perbanyakan benih sumber.Kata kunci: benih padi, F3, marka SSR, uji kemurnian genetik

Introduction Cookbooks are an exceptional written record of what is largely an oral tradition. They have been described as “magician’s hats” due to their ability to reveal much more than they seem to contain (Wheaton, “Finding”). The first book printed in Germany was the Guttenberg Bible in 1456 but, by 1490, printing was introduced into almost every European country (Tierney). The spread of literacy between 1500 and 1800, and the rise in silent reading, helped to create a new private sphere into which the individual could retreat, seeking refuge from the community (Chartier). This new technology had its effects in the world of cookery as in so many spheres of culture (Mennell, All Manners). Trubek notes that cookbooks are the texts most often used by culinary historians, since they usually contain all the requisite materials for analysing a cuisine: ingredients, method, technique, and presentation. Printed cookbooks, beginning in the early modern period, provide culinary historians with sources of evidence of the culinary past. Historians have argued that social differences can be expressed by the way and type of food we consume. Cookbooks are now widely accepted as valid socio-cultural and historic documents (Folch, Sherman), and indeed the link between literacy levels and the protestant tradition has been expressed through the study of Danish cookbooks (Gold). From Apicius, Taillevent, La Varenne, and Menon to Bradley, Smith, Raffald, Acton, and Beeton, how can both manuscript and printed cookbooks be analysed as historic documents? What is the difference between a manuscript and a printed cookbook? Barbara Ketchum Wheaton, who has been studying cookbooks for over half a century and is honorary curator of the culinary collection in Harvard’s Schlesinger Library, has developed a methodology to read historic cookbooks using a structured approach. For a number of years she has been giving seminars to scholars from multidisciplinary fields on how to read historic cookbooks. This paper draws on the author’s experiences attending Wheaton’s seminar in Harvard, and on supervising the use of this methodology at both Masters and Doctoral level (Cashman; Mac Con Iomaire, and Cashman). Manuscripts versus Printed Cookbooks A fundamental difference exists between manuscript and printed cookbooks in their relationship with the public and private domain. Manuscript cookbooks are by their very essence intimate, relatively unedited and written with an eye to private circulation. Culinary manuscripts follow the diurnal and annual tasks of the household. They contain recipes for cures and restoratives, recipes for cleansing products for the house and the body, as well as the expected recipes for cooking and preserving all manners of food. Whether manuscript or printed cookbook, the recipes contained within often act as a reminder of how laborious the production of food could be in the pre-industrialised world (White). Printed cookbooks draw oxygen from the very fact of being public. They assume a “literate population with sufficient discretionary income to invest in texts that commodify knowledge” (Folch). This process of commoditisation brings knowledge from the private to the public sphere. There exists a subset of cookbooks that straddle this divide, for example, Mrs. Rundell’s A New System of Domestic Cookery (1806), which brought to the public domain her distillation of a lifetime of domestic experience. Originally intended for her daughters alone, Rundell’s book was reprinted regularly during the nineteenth century with the last edition printed in 1893, when Mrs. Beeton had been enormously popular for over thirty years (Mac Con Iomaire, and Cashman). Barbara Ketchum Wheaton’s Structured Approach Cookbooks can be rewarding, surprising and illuminating when read carefully with due effort in understanding them as cultural artefacts. However, Wheaton notes that: “One may read a single old cookbook and find it immensely entertaining. One may read two and begin to find intriguing similarities and differences. When the third cookbook is read, one’s mind begins to blur, and one begins to sense the need for some sort of method in approaching these documents” (“Finding”). Following decades of studying cookbooks from both sides of the Atlantic and writing a seminal text on the French at table from 1300-1789 (Wheaton, Savouring the Past), this combined experience negotiating cookbooks as historical documents was codified, and a structured approach gradually articulated and shared within a week long seminar format. In studying any cookbook, regardless of era or country of origin, the text is broken down into five different groupings, to wit: ingredients; equipment or facilities; the meal; the book as a whole; and, finally, the worldview. A particular strength of Wheaton’s seminars is the multidisciplinary nature of the approaches of students who attend, which throws the study of cookbooks open to wide ranging techniques. Students with a purely scientific training unearth interesting patterns by developing databases of the frequency of ingredients or techniques, and cross referencing them with other books from similar or different timelines or geographical regions. Patterns are displayed in graphs or charts. Linguists offer their own unique lens to study cookbooks, whereas anthropologists and historians ask what these objects can tell us about how our ancestors lived and drew meaning from life. This process is continuously refined, and each grouping is discussed below. Ingredients The geographic origins of the ingredients are of interest, as is the seasonality and the cost of the foodstuffs within the scope of each cookbook, as well as the sensory quality both separately and combined within different recipes. In the medieval period, the use of spices and large joints of butchers meat and game were symbols of wealth and status. However, when the discovery of sea routes to the New World and to the Far East made spices more available and affordable to the middle classes, the upper classes spurned them. Evidence from culinary manuscripts in Georgian Ireland, for example, suggests that galangal was more easily available in Dublin during the eighteenth century than in the mid-twentieth century. A new aesthetic, articulated by La Varenne in his Le Cuisinier Francois (1651), heralded that food should taste of itself, and so exotic ingredients such as cinnamon, nutmeg, and ginger were replaced by the local bouquet garni, and stocks and sauces became the foundations of French haute cuisine (Mac Con Iomaire). Some combinations of flavours and ingredients were based on humoral physiology, a long held belief system based on the writings of Hippocrates and Galen, now discredited by modern scientific understanding. The four humors are blood, yellow bile, black bile, and phlegm. It was believed that each of these humors would wax and wane in the body, depending on diet and activity. Galen (131-201 AD) believed that warm food produced yellow bile and that cold food produced phlegm. It is difficult to fathom some combinations of ingredients or the manner of service without comprehending the contemporary context within they were consumeSome ingredients found in Roman cookbooks, such as “garum” or “silphium” are no longer available. It is suggested that the nearest substitute for garum also known as “liquamen”—a fermented fish sauce—would be Naam Plaa, or Thai fish sauce (Grainger). Ingredients such as tea and white bread, moved from the prerogative of the wealthy over time to become the staple of the urban poor. These ingredients, therefore, symbolise radically differing contexts during the seventeenth century than in the early twentieth century. Indeed, there are other ingredients such as hominy (dried maize kernel treated with alkali) or grahams (crackers made from graham flour) found in American cookbooks that require translation to the unacquainted non-American reader. There has been a growing number of food encyclopaedias published in recent years that assist scholars in identifying such commodities (Smith, Katz, Davidson). The Cook’s Workplace, Techniques, and Equipment It is important to be aware of the type of kitchen equipment used, the management of heat and cold within the kitchen, and also the gradual spread of the industrial revolution into the domestic sphere. Visits to historic castles such as Hampton Court Palace where nowadays archaeologists re-enact life below stairs in Tudor times give a glimpse as to how difficult and labour intensive food production was. Meat was spit-roasted in front of huge fires by spit boys. Forcemeats and purees were manually pulped using mortar and pestles. Various technological developments including spit-dogs, and mechanised pulleys, replaced the spit boys, the most up to date being the mechanised rotisserie. The technological advancements of two hundred years can be seen in the Royal Pavilion in Brighton where Marie-Antoinin Carême worked for the Prince Regent in 1816 (Brighton Pavilion), but despite the gleaming copper pans and high ceilings for ventilation, the work was still back breaking. Carême died aged forty-nine, “burnt out by the flame of his genius and the fumes of his ovens” (Ackerman 90). Mennell points out that his fame outlived him, resting on his books: Le Pâtissier Royal Parisien (1815); Le Pâtissier Pittoresque (1815); Le Maître d’Hôtel Français (1822); Le Cuisinier Parisien (1828); and, finally, L’Art de la Cuisine Française au Dix-Neuvième Siècle (1833–5), which was finished posthumously by his student Pluméry (All Manners). Mennell suggests that these books embody the first paradigm of professional French cuisine (in Kuhn’s terminology), pointing out that “no previous work had so comprehensively codified the field nor established its dominance as a point of reference for the whole profession in the way that Carême did” (All Manners 149). The most dramatic technological changes came after the industrial revolution. Although there were built up ovens available in bakeries and in large Norman households, the period of general acceptance of new cooking equipment that enclosed fire (such as the Aga stove) is from c.1860 to 1910, with gas ovens following in c.1910 to the 1920s) and Electricity from c.1930. New food processing techniques dates are as follows: canning (1860s), cooling and freezing (1880s), freeze drying (1950s), and motorised delivery vans with cooking (1920s–1950s) (den Hartog). It must also be noted that the supply of fresh food, and fish particularly, radically improved following the birth, and expansion of, the railways. To understand the context of the cookbook, one needs to be aware of the limits of the technology available to the users of those cookbooks. For many lower to middle class families during the twentieth century, the first cookbook they would possess came with their gas or electrical oven. Meals One can follow cooked dishes from the kitchen to the eating place, observing food presentation, carving, sequencing, and serving of the meal and table etiquette. Meal times and structure changed over time. During the Middle Ages, people usually ate two meals a day: a substantial dinner around noon and a light supper in the evening (Adamson). Some of the most important factors to consider are the manner in which meals were served: either à la française or à la russe. One of the main changes that occurred during the nineteenth century was the slow but gradual transfer from service à la française to service à la russe. From medieval times to the middle of the nineteenth century the structure of a formal meal was not by “courses”—as the term is now understood—but by “services”. Each service could comprise of a choice of dishes—both sweet and savoury—from which each guest could select what appealed to him or her most (Davidson). The philosophy behind this form of service was the forementioned humoral physiology— where each diner chose food based on the four humours of blood, yellow bile, black bile, or phlegm. Also known as le grand couvert, the à la française method made it impossible for the diners to eat anything that was beyond arm’s length (Blake, and Crewe). Smooth service, however, was the key to an effective à la russe dinner since servants controlled the flow of food (Eatwell). The taste and temperature of food took centre stage with the à la russe dinner as each course came in sequence. Many historic cookbooks offer table plans illustrating the suggested arrangement of dishes on a table for the à la française style of service. Many of these dishes might be re-used in later meals, and some dishes such as hashes and rissoles often utilised left over components of previous meals. There is a whole genre of cookbooks informing the middle class cooks how to be frugal and also how to emulate haute cuisine using cheaper or ersatz ingredients. The number dining and the manner in which they dined also changed dramatically over time. From medieval to Tudor times, there might be hundreds dining in large banqueting halls. By the Elizabethan age, a small intimate room where master and family dined alone replaced the old dining hall where master, servants, guests, and travellers had previously dined together (Spencer). Dining tables remained portable until the 1780s when tables with removable leaves were devised. By this time, the bread trencher had been replaced by one made of wood, or plate of pewter or precious metal in wealthier houses. Hosts began providing knives and spoons for their guests by the seventeenth century, with forks also appearing but not fully accepted until the eighteenth century (Mason). These silver utensils were usually marked with the owner’s initials to prevent their theft (Flandrin). Cookbooks as Objects and the World of Publishing A thorough examination of the manuscript or printed cookbook can reveal their physical qualities, including indications of post-publication history, the recipes and other matter in them, as well as the language, organization, and other individual qualities. What can the quality of the paper tell us about the book? Is there a frontispiece? Is the book dedicated to an employer or a patron? Does the author note previous employment history in the introduction? In his Court Cookery, Robert Smith, for example, not only mentions a number of his previous employers, but also outlines that he was eight years working with Patrick Lamb in the Court of King William, before revealing that several dishes published in Lamb’s Royal Cookery (1710) “were never made or practis’d (sic) by him and others are extreme defective and imperfect and made up of dishes unknown to him; and several of them more calculated at the purses than the Gôut of the guests”. Both Lamb and Smith worked for the English monarchy, nobility, and gentry, but produced French cuisine. Not all Britons were enamoured with France, however, with, for example Hannah Glasse asserting “if gentlemen will have French cooks, they must pay for French tricks” (4), and “So much is the blind folly of this age, that they would rather be imposed on by a French Booby, than give encouragement to an good English cook” (ctd. in Trubek 60). Spencer contextualises Glasse’s culinary Francophobia, explaining that whilst she was writing the book, the Jacobite army were only a few days march from London, threatening to cut short the Hanoverian lineage. However, Lehmann points out that whilst Glasse was overtly hostile to French cuisine, she simultaneously plagiarised its receipts. Based on this trickling down of French influences, Mennell argues that “there is really no such thing as a pure-bred English cookery book” (All Manners 98), but that within the assimilation and simplification, a recognisable English style was discernable. Mennell also asserts that Glasse and her fellow women writers had an enormous role in the social history of cooking despite their lack of technical originality (“Plagiarism”). It is also important to consider the place of cookbooks within the history of publishing. Albala provides an overview of the immense outpouring of dietary literature from the printing presses from the 1470s. He divides the Renaissance into three periods: Period I Courtly Dietaries (1470–1530)—targeted at the courtiers with advice to those attending banquets with many courses and lots of wine; Period II The Galenic Revival (1530–1570)—with a deeper appreciation, and sometimes adulation, of Galen, and when scholarship took centre stage over practical use. Finally Period III The Breakdown of Orthodoxy (1570–1650)—when, due to the ambiguities and disagreements within and between authoritative texts, authors were freer to pick the ideas that best suited their own. Nutrition guides were consistent bestsellers, and ranged from small handbooks written in the vernacular for lay audiences, to massive Latin tomes intended for practicing physicians. Albala adds that “anyone with an interest in food appears to have felt qualified to pen his own nutritional guide” (1). Would we have heard about Mrs. Beeton if her husband had not been a publisher? How could a twenty-five year old amass such a wealth of experience in household management? What role has plagiarism played in the history of cookbooks? It is interesting to note that a well worn copy of her book (Beeton) was found in the studio of Francis Bacon and it is suggested that he drew inspiration for a number of his paintings from the colour plates of animal carcasses and butcher’s meat (Dawson). Analysing the post-publication usage of cookbooks is valuable to see the most popular recipes, the annotations left by the owner(s) or user(s), and also if any letters, handwritten recipes, or newspaper clippings are stored within the leaves of the cookbook. The Reader, the Cook, the Eater The physical and inner lives and needs and skills of the individuals who used cookbooks and who ate their meals merit consideration. Books by their nature imply literacy. Who is the book’s audience? Is it the cook or is it the lady of the house who will dictate instructions to the cook? Numeracy and measurement is also important. Where clocks or pocket watches were not widely available, authors such as seventeenth century recipe writer Sir Kenelm Digby would time his cooking by the recitation of the Lord’s Prayer. Literacy amongst protestant women to enable them to read the Bible, also enabled them to read cookbooks (Gold). How did the reader or eater’s religion affect the food practices? Were there fast days? Were there substitute foods for fast days? What about special occasions? Do historic cookbooks only tell us about the food of the middle and upper classes? It is widely accepted today that certain cookbook authors appeal to confident cooks, while others appeal to competent cooks, and others still to more cautious cooks (Bilton). This has always been the case, as has the differentiation between the cookbook aimed at the professional cook rather than the amateur. Historically, male cookbook authors such as Patrick Lamb (1650–1709) and Robert Smith targeted the professional cook market and the nobility and gentry, whereas female authors such as Eliza Acton (1799–1859) and Isabella Beeton (1836–1865) often targeted the middle class market that aspired to emulate their superiors’ fashions in food and dining. How about Tavern or Restaurant cooks? When did they start to put pen to paper, and did what they wrote reflect the food they produced in public eateries? Conclusions This paper has offered an overview of Barbara Ketchum Wheaton’s methodology for reading historic cookbooks using a structured approach. It has highlighted some of the questions scholars and researchers might ask when faced with an old cookbook, regardless of era or geographical location. By systematically examining the book under the headings of ingredients; the cook’s workplace, techniques and equipment; the meals; cookbooks as objects and the world of publishing; and reader, cook and eater, the scholar can perform magic and extract much more from the cookbook than seems to be there on first appearance. References Ackerman, Roy. The Chef's Apprentice. London: Headline, 1988. Adamson, Melitta Weiss. Food in Medieval Times. Westport, Connecticut: Greenwood P, 2004. Albala, Ken. Eating Right in the Renaissance. Ed. Darra Goldstein. Berkeley: U of California P, 2002. Beeton, Isabella. Beeton's Book of Household Management. London: S. Beeton, 1861. Bilton, Samantha. “The Influence of Cookbooks on Domestic Cooks, 1900-2010.” Petit Propos Culinaires 94 (2011): 30–7. Blake, Anthony, and Quentin Crewe. Great Chefs of France. London: Mitchell Beazley/ Artists House, 1978. Brighton Pavilion. 12 Jun. 2013 ‹http://www.guardian.co.uk/artanddesign/interactive/2011/sep/09/brighton-pavilion-360-interactive-panoramic›. Cashman, Dorothy. “An Exploratory Study of Irish Cookbooks.” Unpublished Master's Thesis. M.Sc. Dublin: Dublin Institute of Technology, 2009. Chartier, Roger. “The Practical Impact of Writing.” Trans. Arthur Goldhammer. A History of Private Lives: Volume III: Passions of the Renaissance. Ed. Roger Chartier. Cambridge, Massachusetts: Belknap P of Harvard U, 1989. 111-59. Davidson, Alan. The Oxford Companion to Food. New York: Oxford U P, 1999. Dawson, Barbara. “Francis Bacon and the Art of Food.” The Irish Times 6 April 2013. den Hartog, Adel P. “Technological Innovations and Eating out as a Mass Phenomenon in Europe: A Preamble.” Eating out in Europe: Picnics, Gourmet Dining and Snacks since the Late Eighteenth Century. Eds. Mark Jacobs and Peter Scholliers. Oxford: Berg, 2003. 263–80. Eatwell, Ann. “Á La Française to À La Russe, 1680-1930.” Elegant Eating: Four Hundred Years of Dining in Style. Eds. Philippa Glanville and Hilary Young. London: V&A, 2002. 48–52. Flandrin, Jean-Louis. “Distinction through Taste.” Trans. Arthur Goldhammer. A History of Private Lives: Volume III : Passions of the Renaissance. Ed. Roger Chartier. Cambridge, Massachusetts: Belknap P of Harvard U, 1989. 265–307. Folch, Christine. “Fine Dining: Race in Pre-revolution Cuban Cookbooks.” Latin American Research Review 43.2 (2008): 205–23. Glasse, Hannah. The Art of Cookery Made Plain and Easy; Which Far Exceeds Anything of the Kind Ever Published. 4th Ed. London: The Author, 1745. Gold, Carol. Danish Cookbooks: Domesticity and National Identity, 1616-1901. Seattle: U of Washington P, 2007. Grainger, Sally. Cooking Apicius: Roman Recipes for Today. Totnes, Devon: Prospect, 2006. Hampton Court Palace. “The Tudor Kitchens.” 12 Jun 2013 ‹http://www.hrp.org.uk/HamptonCourtPalace/stories/thetudorkitchens› Katz, Solomon H. Ed. Encyclopedia of Food and Culture (3 Vols). New York: Charles Scribner’s Sons, 2003. Kuhn, T. S. The Structure of Scientific Revolutions. Chicago: U of Chicago P, 1962. Lamb, Patrick. Royal Cookery:Or. The Complete Court-Cook. London: Abel Roper, 1710. Lehmann, Gilly. “English Cookery Books in the 18th Century.” The Oxford Companion to Food. Ed. Alan Davidson. Oxford: Oxford U P, 1999. 277–9. Mac Con Iomaire, Máirtín. “The Changing Geography and Fortunes of Dublin’s Haute Cuisine Restaurants 1958–2008.” Food, Culture & Society 14.4 (2011): 525–45. Mac Con Iomaire, Máirtín, and Dorothy Cashman. “Irish Culinary Manuscripts and Printed Cookbooks: A Discussion.” Petit Propos Culinaires 94 (2011): 81–101. Mason, Laura. Food Culture in Great Britain. Ed. Ken Albala. Westport CT.: Greenwood P, 2004. Mennell, Stephen. All Manners of Food. 2nd ed. Chicago: U of Illinois P, 1996. ---. “Plagiarism and Originality: Diffusionism in the Study of the History of Cookery.” Petits Propos Culinaires 68 (2001): 29–38. Sherman, Sandra. “‘The Whole Art and Mystery of Cooking’: What Cookbooks Taught Readers in the Eighteenth Century.” Eighteenth Century Life 28.1 (2004): 115–35. Smith, Andrew F. Ed. The Oxford Companion to American Food and Drink. New York: Oxford U P, 2007. Spencer, Colin. British Food: An Extraordinary Thousand Years of History. London: Grub Street, 2004. Tierney, Mark. Europe and the World 1300-1763. Dublin: Gill and Macmillan, 1970. Trubek, Amy B. Haute Cuisine: How the French Invented the Culinary Profession. Philadelphia: U of Pennsylvania P, 2000. Wheaton, Barbara. “Finding Real Life in Cookbooks: The Adventures of a Culinary Historian”. 2006. Humanities Research Group Working Paper. 9 Sep. 2009 ‹http://www.phaenex.uwindsor.ca/ojs/leddy/index.php/HRG/article/view/22/27›. Wheaton, Barbara Ketcham. Savouring the Past: The French Kitchen and Table from 1300-1789. London: Chatto & Windus, 1983. White, Eileen, ed. The English Cookery Book: Historical Essays. Proceedings of the 16th Leeds Symposium on Food History 2001. Devon: Prospect, 2001.

Introduction In an era of upheaval and uncertainty for higher education institutions around the world, scholars, like those in many in other professions, are increasingly using social media to build communities around mutual support and professional development. These communities appear to offer opportunities for participants to exert more positive influence over the types of interactions they engage in with colleagues, in many cases being valued as more altruistic, transformational, or supportive than established academic structures (Gibson, and Gibbs; Mewburn, and Thomson; Maitzen). What has been described as ‘digital scholarship’ applies social media to “different facets of scholarly activity in a helpful and productive way” (Carrigan 5), with online scholarly communities being likened to evolutions of face-to-face practices including peer mentoring (Ferguson, and Wheat) or a “virtual staffroom” (Mewburn, and Thomson). To a large extent, these accounts of scholarly practice adapted for digital media have resonance. From writing groups (O’Dwyer, McDonough, Jefferson, Goff, and Redman-MacLaren) to conference attendance (Spilker, Silva, and Morgado) and funding (Osimo, Priego, and Vuorikari), the transformational possibilities of social media have been applied to almost every facet of existing academic practices. These practices have increasingly attracted scrutiny from higher education institutions, with social media profiles of staff both a potential asset and risk to institutions’ brands. Around the world, institutions use social media for marketing, student recruitment, student support and alumni communication (Palmer). As such, social media policies have emerged in recent years in attempts to ensure staff engage in ways that align with the interests of their employers (Solberg; Carrigan). However, engagement via social media is also still largely considered “supplementary to ‘real’ scholarly work” (Mussell 347).Paralleling this trend, guides to effectively managing an online profile as a component of professional reputation have also become increasingly common (e.g. Carrigan). While public relations and management literatures have approached reputation management in terms of how an organisation is regarded by its multiple stakeholders (Fombrun) this is increasingly being applied to individuals on social media. According to Gandini a “reputation economy” (22) has come to function for knowledge workers who seek to cultivate a reputation as a good community member through sociality in order to secure more (or better) work.The popularity of professional social media communities and scrutiny of participants raises questions about the work involved in building and participating in them. This article explores these questions through analysis of tweets from the first year of #ECRchat, a Twitter group for early career researchers (ECRs). The group was established in 2012 to provide an opportunity for ECRs (typically within five years of PhD completion) to discuss career-related issues. Since it was founded, the group has been administered through partnerships between early career scholars using a Twitter account (@ECRchat) and a blog. Tweets, the posts of 140 characters or fewer, which appear on a user’s profile and in followers’ feeds (Twitter) are organised into a ‘chat’ by participants through the use of the hashtag ‘#ECRchat’. Participants vote on chat topics and take on the role of hosting on a volunteer basis. The explicit career focus of this group provides an ideal case study to explore how work is represented in an online professionally-focused community, in order to reflect on what this might mean for the norms of knowledge work.Digital Labour The impact of Internet Communication Technologies (ICT), including social media, on the lives of workers has long been a source of both concern and hope. Mobile devices, wireless Internet and associated communications software enable increasing numbers of people to take work home. This flexibility has been welcomed as the means by which workers might more successfully access jobs and manage competing commitments (Raja, Imaizumi, Kelly, Narimatsu, and Paradi-Guilford). However, hours worked from home are often unpaid and carry with them a strong likelihood of interfering with rest, recreation and family time (Pocock and Skinner). Melissa Gregg describes this as “presence bleed” (2): the dilutions of focus from everyday activities as workers increasingly use electronic devices to ‘check in’ during non-work time. Moving beyond the limitations of this work-life balance approach, which tends to over-state divisions between employment and other everyday life practices, a growing literature seeks to address work in online environments by analysing the types of labour being practiced, rather than seeing such practices as adjunct to physical workplaces. Responding to claims that digital communication heralds a new age of greater freedom, creativity and democratic participation, this work draws attention to the reliance of such networks on unpaid labour (e.g. Hearn; Hesmondhalgh) with ratings, reviews and relationship maintenance serving business’ economic ends alongside the individual interests which motivate participants. The immaterial, affective, and often precarious labour that has been observed is “simultaneously voluntarily given and unwaged, enjoyed and exploited” (Terranova). This work builds particularly on feminist analysis of work (see McRobbie for a discussion of this), with behind the scenes moderator, convenor, and community builder roles largely female and largely unrecognised, be they activist (Gleeson), creative (Duffy) or consumer (Arcy) groups. For some, this suggests the emergence of a new ‘women’s work’ of affective immaterial labour which goes into building transformational communities (Jarrett). Yet, digital labour has not yet been foregrounded within research into higher education, where it is largely practiced in the messy intersections of employment, unpaid professional development, and leisure. Joyce Goggin argues that convergence of these spheres is a feature of digital labour. Consequently, this article seeks to add a consideration of digital labour, specifically the cultural politics of work that emerge in these spaces, to the literature on digital practices as a translation of existing academic responsibilities online. In the context of widespread concerns over academic workload and job market (Bentley, Coates, Dobson, Goedegebuure, and Meek) and the growing international engagement and impact agenda (Priem, Piwowar, and Hemminger), it raises questions about the implications of these practices. Researching Twitter Communities This article analyses tweets from the publicly available Twitter timeline, containing the hashtag #ECRchat, during scheduled chats, from 1 July 2012 to 31 July 2013 (the first year of operation). Initially, all tweets in this time period were analysed in anonymised form to determine the most commonly mentioned topics during chats. This content analysis removed the most common English language words, such as: the; it; I; and RT (which stands for retweet), which would otherwise appear as top results in almost any content analysis regardless of the community of interest. This was followed by qualitative analysis of tweets, to explore in more depth how important issues were articulated and rationalised within the group. This draws on Catherine Driscoll’s and Melissa Gregg’s idea of “sympathetic online cultural studies” which seeks to explore online communities first and foremost as communities rather than as exemplars of online communications (15-20). Here, a narrative approach was undertaken to analyse how participants curated, made sense of, and explained their own career stories (drawing on Pamphilon). Although I do not claim that participants are representative of all ECRs, or that the ideas given the most attention during chats are representative of the experiences of all participants, representations of work articulated here are suggestive of the kinds of public utterances that were considered reasonable within this open online space. Participants are identified according to the twitter handle and user name they had chosen to use for the chats being analysed. This is because the practical infeasibility of guaranteeing online anonymity (readers need only to Google the text of any tweet to associate it with a particular user, in most cases) and the importance of actively involving participants as agents in the research process, in part by identifying them as authors of their own stories, rather than informants (e.g. Butz; Evans; Svalastog and Eriksson).Representations of Work in #ECRchat The co-creation of the #ECRchat community through participant hosts and community votes on chat topics gave rise to a discussion group that was heavily focused on ‘the work’ of academia, including its importance in the lives of participants, relative appeal over other options, and negative effects on leisure time. I was clear that participants regarded participation as serving their professional interests, despite participation not being paid or formally recognised by employers. With the exception of two discussions focused on making decisions about the future of the group, #ECRchat discussions during the year of analysis focused on topics designed to help participants succeed at work such as “career progression and planning”, “different routes to postdoc funding”, and “collaboration”. At a micro-level, ‘work’ (and related terms) was the most frequently used term in #ECRchat, with its total number of uses (1372) almost double that of research (700), the next most used term. Comments during the chats reiterated this emphasis: “It’s all about the work. Be decent to people and jump through the hoops you need to, but always keep your eyes on the work” (Magennis).The depth of participants’ commitment comes through strongly in discussions comparing academic work with other options: “pretty much everyone I know with ‘real jobs’ hates their work. I feel truly lucky to say that I love mine #ECRchat” (McGettigan). This was seen in particular in the discussion about ‘careers outside academia’. Hashtags such as #altac (referring to alternative-academic careers such as university research support or learning and teaching administration roles) and #postac (referring to PhD holders working outside of universities in research or non-research roles) used both alongside the #ECRchat hashtag and separately, provide an ongoing site of these kinds of representations. While participants in #ECRchat sought to shift this perception and were critically aware that it could lead to undesirable outcomes: “PhDs and ECRs in Humanities don’t seem to consider working outside of academia – that limits their engagement with training #ECRchat” (Faculty of Humanities at the University of Manchester), such discussions frequently describe alternative academic careers as a ‘backup plan’, should academic employment not be found. Additionally, many participants suggested that their working hours were excessive, extending the professional into personal spaces and times in ways that they did not see as positive. This was often described as the only way to achieve success: “I hate to say it, but one of the best ways to improve track record is to work 70+ hours a week, every week. Forever. #ecrchat” (Dunn). One of the key examples of this dynamic was the scheduling of the chat itself. When founded in 2012, #ECRchat ran in the Australian evening and UK morning, eliding the personal/work distinction for both its coordinators and participants. While considerable discussion was concerned with scheduling the chat during times when a large number of international participants could attend, this discussion centred on waking rather than working hours. The use of scheduled tweets and shared work between convenors in different time zones (Australia and the United Kingdom) maintained an around the clock online presence, extending well beyond the ordinary working hours of any individual participant.Personal Disclosure The norms that were articulated in #ECRchat are perhaps not surprising for a group of participants seeking to establish themselves in a profession where a long-hours culture and work-life interference are common (Bentley, Coates, Dobson, Goedegebuure, and Meek). However, what is notable is that participation frequently involved the extension of the personal into the professional and in support of professional aims. In the chat’s first year, an element of personal disclosure and support for others became key to acting as a good community member. Beyond the well-established norms of white collar workers demonstrating professionalism by deploying “courtesy, helpfulness, and kindness” (Mills xvii), this community building relied on personal disclosure which to some extent collapsed personal and professional boundaries.By disclosing individual struggles, anxieties, and past experiences participants contributed to a culture of support. This largely functioned through discussions of work stress rather than leisure: “I definitely don’t have [work-life balance]. I think it’s because I don’t have a routine so work and home constantly blend into one another” (Feely). Arising from these discussions, ideas to help participants better navigate and build academic careers was one of the main ways this community support and concern was practiced: “I think I’m often more productive and less anxious if I'm working on a couple of things in parallel, too #ecrchat” (Brian).Activities such as preparing meals, caring for family, and leisure activities, became part of the discussion. “@snarkyphd Sorry, late, had to deal with toddler. Also new; currently doing casual teaching/industry work & applying for postdocs #ecrchat” (Ronald). Exclusively professional profiles were considered less engaging than the combination of personal and professional that most participants adopted: “@jeanmadams I’ve answered a few queries on ResearchGate, but agree lack of non-work opinions / personality makes them dull #ecrchat” (Tennant). However, this is not to suggest that these networks become indistinguishable from more informal, personal, or leisurely uses of social media: “@networkedres My ‘professional’ online identity is slightly more guarded than my ‘facebook’ id which is for friends and family #ECRchat” (Wheat). Instead, disclosure of certain kinds of work struggles came to function as a positive contribution to a more reflexive professionalism. In the context of work-focused discussion, #ECRchat opens important spaces for scholars to question norms they considered damaging or at least make these tacit norms explicit and receive support to manage them. Affective Labour The professional goals and focus of #ECRchat, combined with the personal support and disclosure that forms the basis for the supportive elements in this group is arguably one of its strongest and most important elements. Mark Carrigan suggests that the practices of revealing something of the struggles we experience could form the basis for a new collegiality, where common experiences which had previously not been discussed publicly are for the first time recognised as systemic, not individual challenges. However, there is work required to provide context and support for these emotional experiences which is largely invisible here, as has typically been the case in other communities. Such ‘affective labour’ “involves the production and manipulation of affect and requires (virtual or actual) human contact, labour in the bodily mode … the labour is immaterial, even if it is corporeal and affective, in the sense that its products are intangible, a feeling of ease, well-being, satisfaction, excitement or passion” (Hardt, and Negri 292). In #ECRchat, this ranges from managing the schedule and organising discussions – which involves following up offers to help, assisting people to understand the task, and then ensuring things go ahead as planned –to support offered by members of the group within discussions. This occurs in the overlaps between personal and professional representations, taking a variety of forms from everyday reassurance, affirmation, and patience: “Sorry to hear - hang in there. Hope you have a good support network. #ECRchat” (Galea) to empathy often articulated alongside the disclosure discussed earlier: “The feeling of guilt over not working sounds VERY familiar! #ecrchat” (Vredeveldt).The point here is not to suggest that this work is not sufficiently valued by participants, or that it does not parallel the kinds of work undertaken in more formal job roles, including in academia, where management, conference convening or participation in professional societies, and teaching, as just a few examples, involve degrees of affective labour. However, as a consequence of the (semi)public nature of these groups, the interactions observed here appear to represent a new inflection of professional reputation work, where, in building online professional communities, individuals peg their professional reputations to these forms of affective labour. Importantly, given the explicitly professional nature of the group, these efforts are not counted as part of the formal workload of those involved, be they employed (temporarily or more securely) inside or outside universities, or not in the paid workforce. Conclusion A growing body of literature demonstrates that online academic communities can provide opportunities for collegiality, professional development, and support: particularly among emerging scholars. These accounts demonstrate the value of digital scholarly practices across a range of academic work. However, this article’s discussion of the work undertaken to build and maintain #ECRchat in its first year suggests that these practices at the messy intersections of employment, unpaid professional development, and leisure constitute a new inflection of professional reputation and service work. This work involves publicly building a reputation as a good community member through a combination of personal disclosure and affective labour.In the context of growing emphasis on the economic, social, and other impacts of academic research and concerns over work intensification, this raises questions about possible scope for, and impact of, formal recognition of digital academic labour. While institutions’ work planning and promotion processes may provide opportunities to recognise work developing professional societies or conferences as a leadership or service to a discipline, this new digital service work remains outside the purview of such recognition and reward systems. Further research into the relationships between academic reputation and digital labour will be needed to explore the implications of this for institutions and academics alike. AcknowledgementsI would like to gratefully acknowledge the contributions and support of everyone who participated in developing and sustaining #ECRchat. Both online and offline, this paper and the community itself would not have been possible without many generous contributions of time, understanding and thoughtful discussion. In particular, I would like to thank Katherine L. Wheat, co-founder and convenor, as well as Beth Montague-Hellen, Ellie Mackin, and Motje Wolf, who have taken on convening the group in the years since my involvement. ReferencesArcy, Jacquelyn. “Emotion Work: Considering Gender in Digital Labor.” Feminist Media Studies 16.2 (2016): 365-68.Bentley, Peter, Hamish Coates, Ian Dobson, Leo Goedegebuure, and Lynn Meek. Job Satisfaction around the Academic World. Dordrecht: Springer, 2013. Brian, Deborah (@deborahbrian). “I think I’m often more productive and less anxious if I’m working on a couple of things in parallel, too #ecrchat” (11 April 2013, 10:25). Tweet.Butz, David. “Sidelined by the Guidelines: Reflections on the Limitations of Standard Informed Consent Procedures for the Conduct of Ethical Research.” ACME: An International E-Journal for Critical Geographies 7 (2008): 239-59. Carrigan, Mark. Social Media for Academics. Los Angeles: Sage, 2016.Carrigan, Mark. Social Media and Academic Freedom. 2015. 5 Jan. 2016 <https://markcarrigan.net/2015/08/06/social-media-and-academic-freedom/>.Driscoll, Catherine, and Melissa Gregg. “My Profile: The Ethics of Virtual Ethnography.” Emotion, Space and Society 3.1 (2010): 15–20.Doorley, John, and Helio Fred Garcia. Reputation Management: The Key to Successful Public Relations and Corporate Communication. 2nd ed. Hoboken: Taylor and Francis, 2012.Duffy, Brooke. “The Romance of Work: Gender and Aspirational Labour in the Digital Culture Industries.” International Journal of Cultural Studies 19.4 (2015): 441-57.Dunn, Adam (@AdamGDunn). “I hate to say it, but one of the best ways to improve track record is to work 70+ hours a week, every week. Forever. #ecrchat.” (14 Mar. 2013, 10:54). Tweet.Evans, Mike. “Ethics, Anonymity, and Authorship on Community Centred Research or Anonymity and the Island Cache.” Pimatisiwin: A Journal of Aboriginal and Indigenous Community Health 2 (2004): 59-76.Faculty of Humanities at the University of Manchester (@HumsResearchers). “PhDs and ECRs in Humanities don't seem to consider working outside of academia - that limits their engagement with training #ECRchat” (2 Aug. 2012, 10:14). Tweet.Feely, Cath (@cathfeely). “I definitely don’t have [work-life balance]. I think it's because I don’t have a routine so work and home constantly blend into one another” (16 Aug. 2012, 10:08). Tweet.Ferguson, Hazel, and Katherine L. Wheat. “Early Career Academic Mentoring Using Twitter: The Case of #ECRchat.” Journal of Higher Education Policy and Management 37.1 (2015): 3-13.Fombrun, Charles. Reputation: Realizing Value from the Corporate Image. Boston, MA: Harvard Business School, 1996.Galea, Marguerite (@MVEG001). “Sorry to hear - hang in there. Hope you have a good support network. #ECRchat” (6 Dec. 2012, 10:32). Tweet.Gandini, Alessandro. The Reputation Economy: Understanding Knowledge Work in Digital Society. London: Palgrave Macmillan, 2016.Gibson, Chris, and Leah Gibbs. “Social Media Experiments: Scholarly Practice and Collegiality.” Dialogues in Human Geography 3.1 (2013): 87-91. Gleeson, Jessamy. “(Not) ‘Working 9-5’: The Consequences of Contemporary Australian-Based Online Feminist Campaigns as Digital Labour.” Media International Australia 161.1 (2016): 77-85.Goggin, Joyce. “Playbour, Farming and Labour.” Ephemera: Theory and Politics in Organization 11.4 (2011): 357-68.Gregg, Melissa. Work’s Intimacy. Cambridge: Polity P, 2011.Hardt, Michael, and Antonio Negri. Empire. Cambridge: Harvard UP, 2000.Hearn, Alison. “Structuring Feeling: Web 2.0, Online Ranking and Rating, and the Digital ‘Reputation’ Economy.” Ephemera: Theory & Politics in Organisation 10.3/4 (2010): 421-38.Hesmondhalgh, David. “User-Generated Content, Free Labour and the Cultural Industries.” Ephemera: Theory & Politics in Organisation 10.3/4 (2010): 267-84.Jarrett, Kylie. “The Relevance of ‘Women’s Work’ Social Reproduction and Immaterial Labor in Digital Media.” Television & New Media 15.1 (2014): 14-29.Magennis, Caroline (@DrMagennis). “It’s all about the work. Be decent to people and jump through the hoops you need to, but always keep your eyes on the work.” (26 July 2012, 10:56). Tweet.Maitzen, Rohan. “Scholarship 2.0: Blogging and/as Academic Practice.” Journal of Victorian Culture 17.3 (2012): 348-54.McGettigan, Carolyn (@c_mcgettigan). “pretty much everyone I know with ‘real jobs’ hates their work. I feel truly lucky to say that I love mine #ECRchat.” (31 Jan. 2013, 10:17). Tweet.McRobbie, Angela. 2010. “Reflections on Feminism, Immaterial Labour and the Post-Fordist Regime.” New Formations 70: 60-76.Mewburn, Inger, and Pat Thomson. “Why Do Academics Blog? An Analysis of Audiences, Purposes and Challenges.” Studies in Higher Education 38.8 (2013): 1105-19. Mills, C. Wright. White Collar: The American Middle Classes. New York: Oxford UP, 1951/1973.Mussell, James. “Social Media.” Journal of Victorian Culture 17.3 (2012): 347-47.O’Dwyer, Siobhan, Sharon McDonough, Rebecca Jefferson, Jennifer Ann Goff, and Michelle Redman-MacLaren. “Writing Groups in the Digital Age: A Case Study Analysis of Shut Up and Write Tuesdays.” Research 2.0 and the Impact of Digital Technologies on Scholarly Inquiry. Ed. Antonella Esposito. Pennsylvania: IGI Global, 2016. 249-69.Osimo, David, Pujol Priego Laia, and Vuorikari Riina. “Alternative Research Funding Mechanisms: Make Funding Fit for Science 2.0.” Research 2.0 and the Impact of Digital Technologies on Scholarly Inquiry. Ed. Antonella Esposito. Pennsylvania: IGI Global, 2016. 53-67. Pamphilon, Barbara. “The Zoom Model: A Dynamic Framework for the Analysis of Life Histories.” Qualitative Inquiry, 5.3 (1999): 393-410.Palmer, Stuart. “Characterisation of the Use of Twitter by Australian Universities.” Journal of Higher Education Policy and Management 35.4 (2013): 333-44.Pocock, Barbara, Natalie Skinner, and Philippa Williams. Time Bomb: Work, Rest and Play in Australia Today. Sydney: U of NSW P, 2012.Priem, Jason, Heather Piwowar, and Bradley Hemminger. “Altmetrics in the Wild: Using Social Media to Explore Scholarly Impact.” 2012. 25 Mar. 2017 <https://arxiv.org/abs/1203.4745>. Raja, Siddhartha, Saori Imaizumi, Tim Kelly, Junko Narimatsu, and Cecilia Paradi-Guilford. Connecting to Work: How Information and Communication Technologies Could Help Expand Employment Opportunities. Washington DC; World Bank. 2013. 5 Jan. 2016 <http://documents.worldbank.org/curated/en/290301468340843514/Connecting-to-work-how-information-and-communication-technologies-could-help-expand-employment-opportunities>.Ronald, N.A. (@naronresearch). “@snarkyphd Sorry, late, had to deal with toddler. Also new; currently doing casual teaching/industry work & applying for postdocs #ecrchat” (17 Jan. 2013, 10:15). Tweet.Solberg, Lauren. “Balancing Academic Freedom and Professionalism: A Commentary on University Social Media Policies.” FIU Law Review 75.1 (2013). 5 Jan. 2016 <http://ecollections.law.fiu.edu/lawreview/vol9/iss1/26>. Spilker, Maria J., Maria Paula Silva, and Lina Morgado. “Research 2.0: The Contribution of Content Curation.” Research 2.0 and the Impact of Digital Technologies on Scholarly Inquiry (2016): 231.Svalastog, Anna-Lydia, and Stefan Eriksson. “You Can Use My Name; You Don’t Have to Steal My Story—A Critique of Anonymity in Indigenous Studies.” Developing World Bioethics 10 (2010): 104-10.Tennant, Peter (@Peter_Tennant). “@jeanmadams I've answered a few queries on Research Gate, but agree lack of non-work opinions / personality makes them dull #ecrchat” (15 Nov. 2012, 19:26). Tweet.Terranova, Tiziana. “Free Labor: Producing Culture for the Digital Economy.” Social Text 18.2 (2000): 33-58.Twitter. “Help Center: New User FAQs.” 2016. 5 Jan. 2016 <https://support.twitter.com/articles/13920-get-to-know-twitter-new-user-faq#>.Vredeveldt, Annelies (@anneliesvrede). “The feeling of guilt over not working sounds VERY familiar! #ecrchat” (19 July 2012, 10:25). Tweet.Wheat, Katherine (@KL_Wheat). “@networkedres My ‘professional’ online identity is slightly more guarded than my ‘facebook’ id which is for friends and family #ECRchat” (15 Nov. 2012, 19:27). Tweet.

Ever since I tripped over Tiddles while I was carrying a pile of discs into the studio, I’ve known it was possible to get a laugh out of gramophone records!Max Bygraves In 1978 the music critic Lester Bangs published a typically pugnacious essay with the fighting title, “The Ten Most Ridiculous Albums of the Seventies.” Before deliciously launching into his execution of Uri Geller’s self-titled album or Rick Dees’ The Original Disco Duck, Bangs asserts that because that decade was history’s silliest, it stands to reason “that ridiculous records should become the norm instead of anomalies,” that abominations should be the best of our time (Bangs, 1978). This absurd pretzel logic sounds uncannily like Jacques Derrida’s definition of the “post” condition, since for it to arrive it begins by not arriving (Derrida 1987, 29). Lester is thinking like a poststructuralist. The oddness of the most singularly odd album out in Bangs’ greatest misses of the seventies had nothing to do with how ridiculous it was, but the fact that it even existed at all. (Bangs 1978) The album was entitled The Best of Marcel Marceao. Produced by Michael Viner the album contained four tracks, with two identical on both sides: “Silence,” which is nineteen minutes long and “Applause,” one minute. To underline how extraordinary this gramophone record is, John Cage’s Lecture on Nothing (1959) is cacophonous by comparison. While Bangs agrees with popular opinion that The Best of Marcel Marceao the “ultimate concept album,” he concluded that this is “one of those rare records that never dates” (Bangs, 1978). This tacet album is a good way to start thinking about the Classical Gas project, and the ironic semiotics at work in it (Tofts & Gye 2011). It too is about records that are silent and that never date. First, the album’s cover art, featuring a theatrically posed Marceau, implies the invitation to speak in the absence of speech; or, in our terms, it is asking to be re-written. Secondly, the French mime’s surname is spelled incorrectly, with an “o” rather than “u” as the final letter. As well as the caprice of an actual album by Marcel Marceau, the implicit presence and absence of the letters o and u is appropriately in excess of expectations, weird and unexpected like an early title in the Classical Gas catalogue, Ernesto Laclau’s and Chantal Mouffe’s Hegemony and Socialist Strategy. (classical-gas.com) Like a zootrope animation, it is impossible not to see the o and u flickering at one at the same time on the cover. In this duplicity it performs the conventional and logical permutation of English grammar. Silence invites difference, variation within a finite lexical set and the opportunity to choose individual items from it. Here is album cover art that speaks of presence and absence, of that which is anticipated and unexpected: a gramophone recoding without sound. In this the Marceau cover is one of Roland Barthes’ mythologies, something larger than life, structured like a language and structured out of language (Barthes 1982). This ambiguity is the perfidious grammar that underwrites Classical Gas. Images, we learned from structuralism, are codified, or rather, are code. Visual remix is a rhetorical gesture of recoding that interferes with the semiotic DNA of an image. The juxtaposition of text and image is interchangeable and requires our imagination of what we are looking at and what it might sound like. This persistent interplay of metaphor and metonymy has enabled us to take more than forty easy listening albums and republish them as mild-mannered recordings from the maverick history of ideas, from Marxism and psychoanalysis, to reception theory, poststructuralism and the writings of critical auteurs. Foucault à gogo, for instance, takes a 1965 James Last dance album and recodes it as the second volume of The History of Sexuality. In saying this, we are mindful of the ambivalence of the very possibility of this connection, to how and when the eureka moment of remix recognition occurs, if at all. Mix and remix are, after Jean Baudrillard, both precession and procession of simulacra (Baudrillard, 1983). The nature of remix is that it is always already elusive and anachronistic. Not everyone can be guaranteed to see the shadow of one text in dialogue with another, like a hi-fi palimpsest. Or another way of saying this, such an epiphany of déjà vu, of having seen this before, may happen after the fact of encounter. This anachrony is central to remix practices, from the films of Quentin Tarrantino and the “séance fictions” of Soda_Jerk, to obscure Flintstones/Goodfellas mashups on YouTube. It is also implicit in critical understandings of an improbable familiarity with the superabundance of cultural archives, the dizzying excess of an infinite record library straight out of Jorge Luis Borges’ ever-expanding imagination. Drifting through the stacks of such a repository over an entire lifetime any title found, for librarian and reader alike, is either original and remix, sometime. Metalanguages that seek to counter this ambivalence are forms of bad faith, like film spoilers Brodie’s Notes. Accordingly, this essay sets out to explain some of the generic conventions of Classical Gas, as a remix project in which an image’s semiotic DNA is rewired and recontextualised. While a fake, it is also completely real (Faith in fakes, as it happens, may well be a forthcoming Umberto Eco title in the series). While these album covers are hyperreal, realistic in excess of being real, the project does take some inspiration from an actual, rather than imaginary archive of album covers. In 2005, Jewish artist Dani Gal happened upon a 1968 LP that documented the events surrounding the Six Day War in Israel in 1967. To his surprise, he found a considerable number of similar LPs to do with significant twentieth century historical events, speeches and political debates. In the artist’s own words, the LPs collected in his Historical Record Archive (2005-ongoing) are in fact silent, since it is only their covers that are exhibited in installations of this work, signifying a potential sound that visitors must try to audition. As Gal has observed, the interactive contract of the work is derived from the audience’s instinct to “try to imagine the sounds” even though they cannot listen to them (Gal 2011, 182). Classical Gas deliberately plays with this potential yearning that Gal astutely instils in his viewer and aspiring auditor. While they can never be listened to, they can entice, after Gilles Deleuze, a “virtual co-existence” of imaginary sound that manifests itself as a contract between viewer and LP (Deleuze 1991, 63). The writer Jeffrey Sconce condensed this embrace of the virtual as something plausibly real when he pithily observed of the Classical Gas project that it is “the thrift-bin in my fantasy world. I want to play S/Z at 78 rpm” (Sconce 2011). In terms of Sconce’s spectral media interests the LPs are haunted by the trace of potential “other” sounds that have taken possession of and appropriated the covers for another use (Sconce 2000).Mimetic While most albums are elusive and metaphoric (such as Freud’s Totem and Taboo, or Luce Irigaray’s Ethics of Sexual Difference), some titles do make a concession to a tantalizing, mimetic literalness (such as Das Institut fur Sozialforschung). They display a trace of the haunting subject in terms of a tantalizing echo of fact or suggestion of verifiable biography. The motivation here is the recognition of a potential similarity, since most Classical Gas titles work by contrast. As with Roland Barthes’ analysis of the erotics of the fashion system, so with Gilles Deleuze’s Coldness and Cruelty: it is “where the garment gapes” that the tease begins. (Barthes 1994, 9) Or, in this instance, where the cigarette smokes. (classical-gas.com) A casual Max Bygraves, paused in mid-thought, looks askance while lighting up. Despite the temptation to read even more into this, a smoking related illness did not contribute to Bygraves’ death in 2012. However, dying of Alzheimer’s disease, his dementia is suggestive of the album’s intrinsic capacity to be a palimpsest of the co-presence of different memories, of confused identities, obscure realities that are virtual and real. Beginning with the album cover itself, it has to become an LP (Deleuze 1991, 63). First, it is a cardboard, planar sleeve measuring 310mm squared, that can be imprinted with a myriad of different images. Secondly, it is conventionally identified in terms of a title, such as Organ Highlights or Classics Up to Date. Thirdly it is inscribed by genre, which may be song, drama, spoken word, or novelty albums of industrial or instrumental sounds, such as Memories of Steam and Accelerated Accordians. A case in point is John Woodhouse And His Magic Accordion from 1969. (classical-gas.com) All aspects of its generic attributes as benign and wholesome accordion tunes are warped and re-interpreted in Classical Gas. Springtime for Kittler appeared not long after the death of its eponymous philosopher in 2011. Directed by Richard D. James, also known as Aphex Twin, it is a homage album to Friedrich Kittler by the PostProducers, a fictitious remix collective inspired by Mel Brooks whose personnel include Mark Amerika and Darren Tofts. The single from this album, yet to be released, is a paean to Kittler’s last words, “Alle Apparate auschalten.” Foucault à gogo (vol. 2), the first album remixed for this series, is also typical of this archaeological approach to the found object. (classical-gas.com) The erasure and replacement of pre-existing text in a similar font re-writes an iconic image of wooing that is indicative of romantic album covers of this period. This album is reflective of the overall project in that the actual James Last album (1968) preceded the publication of the Foucault text (1976) that haunts it. This is suggestive of how coding and recoding are in the eye of the beholder and the specific time in which the remixed album is encountered. It doesn’t take James Last, Michel Foucault or Theodor Holm Nelson to tell you that there is no such thing as a collective memory with linear recall. As the record producer Milt Gabler observes in the liner notes to this album, “whatever the title with this artist, the tune remains the same, that distinct and unique Foucault à gogo.” “This artist” in this instance is Last or Foucault, as well as Last and Foucault. Similarly Milt Gabler is an actual author of liner notes (though not on the James Last album) whose words from another album, another context and another time, are appropriated and deftly re-written with Last’s Hammond à gogo volume 2 and The History of Sexuality in mind as a palimpsest (this approach to sampling liner notes and re-writing them as if they speak for the new album is a trope at work in all the titles in the series). And after all is said and done with the real or remixed title, both artists, after Umberto Eco, will have spoken once more of love (Eco 1985, 68). Ambivalence Foucault à gogo is suggestive of the semiotic rewiring that underwrites Classical Gas as a whole. What is at stake in this is something that poststructuralism learned from its predecessor. Taking the tenuous conventionality of Ferdinand de Saussure’s signifier and signified as a starting point, Lacan, Derrida and others embraced the freedom of this arbitrariness as the convention or social contract that brings together a thing and a word that denotes it. This insight of liberation, or what Hélène Cixous and others, after Jacques Lacan, called jouissance (Lacan 1992), meant that texts were bristling with ambiguity and ambivalence, free play, promiscuity and, with a nod to Mikhail Bakhtin, carnival (Bakhtin 1984). A picture of a pipe was, after Foucault after Magritte, not a pipe (Foucault 1983). This po-faced sophistry is expressed in René Magritte’s “Treachery of Images” of 1948, which screamed out that the word pipe could mean anything. Foucault’s reprise of Magritte in “This is Not a Pipe” also speaks of Classical Gas’ embrace of the elasticity of sign and signifier, his “plastic elements” an inadvertent suggestion of vinyl (Foucault 1983, 53). (classical-gas.com) This uncanny association of structuralism and remixed vinyl LPs is intimated in Ferdinand de Saussure’s Cours de linguistique générale. Its original cover art is straight out of a structuralist text-book, with its paired icons and words of love, rain, honey, rose, etc. But this text as performed by Guy Lombardo and his Royal Canadians in New York in 1956 is no less plausible than Saussure’s lectures in Geneva in 1906. Cultural memory and cultural amnesia are one and the same thing. Out of all of the Classical Gas catalogue, this album is arguably the most suggestive of what Jeffrey Sconce would call “haunting” (Sconce, 2000), an ambivalent mixing of the “memory and desire” that T.S. Eliot wrote of in the allusive pages of The Waste Land (Eliot 1975, 27). Here we encounter the memory of a bookish study of signs from the early twentieth century and the desire for its vinyl equivalent on World Record Club in the 1960s. Memory and desire, either or, or both. This ambivalence was deftly articulated by Roland Barthes in his last book, Camera Lucida, as a kind of spectral haunting, a vision or act of double seeing in the perception of the photographic image. This flickering of perception is never static, predictable or repeatable. It is a way of seeing contingent upon who is doing the looking and when. Barthes famously conceptualised this interplay in perception of an between the conventions that culture has mandated, its studium, and the unexpected, idiosyncratic double vision that is unique to the observer, its punctum (Barthes 1982, 26-27). Accordingly, the Cours de linguistique générale is a record by Saussure as well as the posthumous publication in Paris and Lausanne of notes from his lectures in 1916. (Barthes 1982, 51) With the caption “Idiot children in an institution, New Jersey, 1924,” American photographer Lewis Hine’s anthropological study declares that this is a clinical image of pathological notions of monstrosity and aberration at the time. Barthes though, writing in a post-1968 Paris, only sees an outrageous Danton collar and a banal finger bandage (Barthes 1982, 51). With the radical, protestant cries of the fallout of the Paris riots in mind, as well as a nod to music writer Greil Marcus (1989), it is tempting to see Hine’s image as the warped cover of a Dead Kennedys album, perhaps Plastic Surgery Disasters. In terms of the Classical Gas approach to recoding, though, this would be far too predictable; for a start there is neither a pipe, a tan cardigan nor a chenille scarf to be seen. A more heart-warming, suitable title might be Ray Conniff’s 1965 Christmas Album: Here We Come A-Caroling. Irony (secretprehistory.net) Like our Secret Gestural Prehistory of Mobile Devices project (Tofts & Gye), Classical Gas approaches the idea of recoding and remixing with a relentless irony. The kind of records we collect and the covers which we use for this project are what you would expect to find in the hutch of an old gramophone player, rather than “what’s hot” in iTunes. The process of recoding the album covers seeks to realign expectations of what is being looked at, such that it becomes difficult to see it in any other way. In this an album’s recoded signification implies the recognition of the already seen, of album covers like this, that signal something other than what we are seeing; colours, fonts etc., belonging to a historical period, to its genres and its demographic. One of the more bucolic and duplicitous forms of rhetoric, irony wants it both ways, to be totally lounge and theoretically too-cool-for school, as in Rencontre Terrestre by Hélène Cixous and Frédéric-Yves Jeannet. (classical-gas.com) This image persuades through the subtle alteration of typography that it belongs to a style, a period and a vibe that would seem to be at odds with the title and content of the album, but as a totality of image and text is entirely plausible. The same is true of Roland Barthes’ S/Z. The radical semiologist invites us into his comfortable sitting room for a cup of coffee. A traditional Times font reinforces the image of Barthes as an avuncular, Sunday afternoon story-teller or crooner, more Alistair Cooke/Perry Como than French Marxist. (classical-gas.com) In some instances, like Histoire de Tel Quel, there is no text at all on the cover and the image has to do its signifying work iconographically. (classical-gas.com) Here a sixties collage of French-ness on the original Victor Sylvester album from 1963 precedes and anticipates the re-written album it has been waiting for. That said, the original title In France is rather bland compared to Histoire de Tel Quel. A chic blond, the Eiffel Tower and intellectual obscurity vamp synaesthetically, conjuring the smell of Gauloises, espresso and agitated discussions of Communism on the Boulevard St. Germain. With Marcel Marceao with an “o” in mind, this example of a cover without text ironically demonstrates how Classical Gas, like The Secret Gestural Prehistory of Mobile Devices, is ostensibly a writing project. Just as the images are taken hostage from other contexts, text from the liner notes is sampled from other records and re-written in an act of ghost-writing to complete the remixed album. Without the liner notes, Classical Gas would make a capable Photoshop project, but lacks any force as critical remix. The redesigned and re-titled covers certainly re-code the album, transform it into something else; something else that obviously or obliquely reflects the theme, ideas or content of the title, whether it’s Louis Althusser’s Philosophy as a Revolutionary Weapon or Luce Irigaray’s An Ethics of Sexual Difference. If you don’t hear the ruggedness of Leslie Fiedler’s essays in No! In Thunder then the writing hasn’t worked. The liner notes are the albums’ conscience, the rubric that speaks the tunes, the words and elusive ideas that are implied but can never be heard. The Histoire de Tel Quel notes illustrate this suggestiveness: You may well think as is. Philippe Forest doesn’t, not in this Éditions du Seuil classic. The titles included on this recording have been chosen with a dual purpose: for those who wish to think and those who wish to listen. What Forest captures in this album is distinctive, fresh and daring. For what country has said it like it is, has produced more robustesse than France? Here is some of that country’s most famous talent swinging from silk stockings, the can-can, to amour, presented with the full spectrum of stereo sound. (classical-gas.com) The writing accurately imitates the inflection and rhythm of liner notes of the period, so on the one hand it sounds plausibly like a toe-tapping dance album. On the other, and at the same time, it gestures knowingly to the written texts upon which it is based, invoking its rigours as a philosophical text. The dithering suggestiveness of both – is it music or text – is like a scrambled moving image always coming into focus, never quite resolving into one or the other. But either is plausible. The Tel Quel theorists were interested in popular culture like the can-can, they were fascinated with the topic of love and if instead of books they produced albums, their thinking would be auditioned in full stereo sound. With irony in mind, then, it’s hardly surprising to know that the implicit title of the project, that is neither seen nor heard but always imminent, is Classical Gasbags. (classical-gas.com) Liner notes elaborate and complete an implicit narrative in the title and image, making something compellingly realistic that is a composite of reality and fabulation. Consider Adrian Martin’s Surrealism (A Quite Special Frivolity): France is the undeniable capital of today’s contemporary sound. For Adrian Martin, this is home ground. His French soul glows and expands in the lovely Mediterranean warmth of this old favourite, released for the first time on Project 3 Total Sound Stereo. But don’t be deceived by the tonal and melodic caprices that carry you along in flutter-free sound. As Martin hits his groove, there will be revolution by night. Watch out for new Adrian Martin releases soon, including La nuit expérimentale and, his first title in English in many years, One more Bullet in the Head (produced by Bucky Pizzarelli). (classical-gas.com) Referring to Martin’s famous essay of the same name, these notes allusively skirt around his actual biography (he regularly spends time in France), his professional writing on surrealism (“revolution by night” was the sub-title of a catalogue for the Surrealism exhibition at the National Gallery of Australia in Canberra and the Art Gallery of New South Wales in 1993 to which he contributed an essay) (Martin 1993), as well as “One more bullet in the head,” the rejected title of an essay that was published in World Art magazine in New York in the mid-1990s. While the cover evokes the cool vibe of nouvelle vague Paris, it is actually from a 1968 album, Roma Oggi by the American guitarist Tony Mottola (a real person who actually sounds like a fictional character from Sergio Leone’s Once Upon A Time in America, a film on which Martin has written a book for the British Film Institute). Plausibility, in terms of Martin’s Surrealism album, has to be as compellingly real as the sincerity of Sandy Scott’s Here’s Sandy. And it should be no surprise to see the cover art of Scott’s album return as Georges Bataille’s Erotism. Gramophone The history of the gramophone represents the technological desire to write sound. In this the gramophone record is a ligature of sound and text, a form of phonographic writing. With this history in mind it’s hardly surprising that theorists such as Derrida and Kittler included the gramophone under the conceptual framework of a general grammatology (Derrida 1992, 253 & Kittler 1997, 28). (classical-gas.com) Jacques Derrida’s Of Grammatology is the avatar of Classical Gas in its re-writing of a previous writing. Re-inscribing the picaresque Pal Joey soundtrack as a foundation text of post-structuralism is appropriate in terms of the gramme or literate principle of Western metaphysics as well as the echolalia of remix. As Derrida observes in Of Grammatology, history and knowledge “have always been determined (and not only etymologically or philosophically) as detours for the purpose of the reappropriation of presence” (Derrida 1976, 10). A gas way to finish, you might say. But in retrospect the ur-text that drives the poetics of Classical Gas is not Of Grammatology but the errant Marcel Marceau album described previously. Far from being an oddity, an aberration or a “novelty” album, it is a classic gramophone recording, the quintessential writing of an absent speech, offbeat and untimely. References Bahktin, Mikhail. Rabelais and His World. Trans. Hélène Iswolsky. Bloomington: Indiana University Press, 1985. Bangs, Lester. “The Ten Most Ridiculous Albums of the Seventies”. Phonograph Record Magazine, March, 1978. Reproduced at http://rateyourmusic.com/list/dacapo/the_ten_most_ridiculous_records_of_the_seventies__by_lester_bangs. Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. London: Flamingo, 1982. ---. Mythologies. Trans. Annette Lavers. London: Granada, 1982. ---. The Pleasure of the Text. Trans. Richard Miller. Oxford: Blackwell, 1994. Baudrillard, Jean. Simulations. Trans. Paul Foss, Paul Patton and Philip Beitchman. New York: Semiotext[e], 1983. Deleuze, Gilles. Bergsonism. Trans. Hugh Tomlinson and Barbara Habberjam. New York: Zone Books, 2000. Derrida, Jacques. Of Grammatology. Trans. Gayatri Chakravorty Spivak. Baltimore: Johns Hopkins University Press, 1976. ---. The Post Card: From Socrates to Freud and Beyond. Trans. Alan Bass. Chicago: Chicago University Press, 1987. ---. “Ulysses Gramophone: Hear Say Yes in Joyce,” in Acts of Literature. Ed. Derek Attridge. New York: Routledge, 1992. Eco, Umberto. Reflections on The Name of the Rose. Trans. William Weaver. London: Secker & Warburg, 1985. Eliot, T.S. The Waste Land and Other Poems. London: Faber & Faber, 1975. Foucault, Michel. This Is Not a Pipe. Trans. James Harkness. Berkeley: University of California Press, 1983. ---. The Use of Pleasure: The History of Sexuality Volume 2. Trans. Robert Hurley. New York: Random House, 1985. Gal, Dani. Interview with Jens Hoffmann, Istanbul Biennale Companion. Istanbul Foundation for Culture and the Arts, 2011. Kittler, Friedrich. “Gramophone, Film, Typewriter,” in Literature, Media, Information Systems. Ed. John Johnston. Amsterdam: Overseas Publishers Association, 1997. Lacan, Jacques. The Ethics of Psychoanalysis (1959–1960): The Seminar of Jacques Lacan. Trans. Dennis Porter. London: Routledge, 1992. Marcus, Greil. Lipstick Traces: A Secret History of the Twentieth Century. London: Secker & Warburg, 1989. Martin, Adrian. “The Artificial Night: Surrealism and Cinema,” in Surrealism: Revolution by Night. Canberra: National Gallery of Australia, 1993. Sconce, Jeffrey. Haunted Media: Electronic Presence from Telegraphy to Television. Durham: Duke University Press, 2000. ---. Online communication with authors, June 2011. Tofts, Darren and Lisa Gye. The Secret Gestural Prehistory of Mobile Devices. 2010-ongoing. http://www.secretprehistory.net/. ---. Classical Gas. 2011-ongoing. http://www.classical-gas.com/.