Journal articles on the topic 'Ryan Stephens'

The story of the Fenian rising in 1867 may be regarded as starting with the expulsion of James Stephens from the headship of one of the two factions of American Fenians in December 1866. Stephens tried to postpone a rising planned to take place before 1 January 1867. At that time there was vocal dissatisfaction within the rank and file at the lack of action. The Dublin organisation itself was divided on the question. According to the report of Superintendent Ryan of the Dublin Metropolitan Police in January 1867: The minor members of the conspiracy made open profession of doubts regarding the sincerity of James Stephens and some went so far as to say they would abandon the movement altogether, but the more prominent members ... made all sorts of apologies for the inability of Stephens to fulfil his promise.Thomas J. Kelly, a former captain in the Federal army now bearing a title of colonel in Fenian terminology, and who had been in Ireland in early 1866, could now count on considerable support in Ireland. A bigger problem he faced was that of bringing the Fenians in Britain under his leadership as soon as he returned from America. Those Americans already in England (largely men who had fled from Ireland after the suspension of the Habeas Corpus Act (29 Vict., c. 4) in February 1866), as well as many of the Irish Fenians there, already entertained doubts about the future purpose of an organisation guided by a remote leadership in America. As a result, the American officers and the Fenians in England decided to launch a rising without waiting for future American help, and for this purpose they formed a Directory in England not later than early February but more probably in January 1867.

THE publication is a CD containing 1:2 000 000 scale maps in three sheets and an accompanying technical report produced by members of the Queensland Herbarium. It is the result of a collaboration of State, Territory and Federal agencies and researchers. The full list of authors include Fox, I. D., Neldner, V. J., Wilson, G. W., Bannink, P. J., Wilson, B. A., Brocklehurst, P. S., Clark, M. J., Dickinson, K. J. M., Beard, P. S., Hopkins, A. J. M., Beeston, G. R., Harvey, J. M., Thompson, E. J., Ryan, T. S., Thompson, S. L., Butler, S. w., Cartan, H., Addicott, E. P., Bailey, L. P., Cumming, R. J., Johnson, S. C., Schmeider, M., Stephens, K. M. and Bean, A. R.

AbstractThe composer Allison Cameron (b. 1963) lives in Toronto. Her music has been widely performed at festivals such as Emerging Voices in San Diego, Evenings of New Music in Bratislava, Festival SuperMicMac in Montréal, Newfoundland Sound Symposium, New Music across America, Bang on a Can Marathon in New York, New York, and Rumori Dagen in Amsterdam. A dedicated performer of experimental music in Toronto, Allison co-founded the Drystone Orchestra (1989) and the Arcana Ensemble (1992). She has been improvising since 2000 on banjo, ukulele, cassette tapes, radios, miscellaneous objects, mini amplifiers, crackle boxes, toys and keyboards, in collaboration with Éric Chenaux, the Draperies, Ryan Driver, Dan Friedman, Mike Gennaro, Kurt Newman, John Oswald, Stephen Parkinson and Mauro Savo, among other musicians. In that same year she became Artistic Director of Toronto's experimental ensemble Arraymusic, a position she held for five years. In 2007, she founded the Allison Cameron Band with Eric Chenaux and Stephen Parkinson, and in 2009, the trio c_RL with Nicole Rampersaud (trumpet) and Germaine Liu (drums). Allison has experimented with graphic and notational scores that will soon be gathered and published as a collection. Additionally, she is the winner of the 2018 KM Hunter Award for music in Ontario.

The present paper sheds new light on the prominent role of man’s home whether real or fictional on the construction of his identity in James Joyce’s (1882-1941) A Portrait of the Artist as a Young Man (1916). One of the most pressing issues and cultural contradictions of modern world is the fate of individual identity in city life. A person is defined based on his cultural identity; and when the loss of that identity is imagined, one is confronted with the thought that he will lose his sense of self and cease to be what he is. The identity involves a repression that leads to a construction of stability and security that might not exist in reality. Peter J. Burke and Jane E. Stets declare that identity means ‘who you are’. Thus, to investigate one’s identity one has to find a way to the cultural context that the person is brought up in it. Michael Ryan (1946- ) asserts that culture is a set of unstated rules by which men live. It allows men to live together in communities by giving them shared signs and signals. Semiology, according to Roland Barthes (1915-1980), is the scientific way of deciphering the cultural signs and codes that pave the way to look into a distinct culture. Thus, it is impossible to know Joyce’s characters, in particular Stephen Dedalus, without enough knowledge of Dublin as Joyce’s home. Stephen metaphorically maps his home through which he can wander to shape and reshape his real self.

This study sheds new light on the role of city whether real or fictional in modern novel as one of the signs of man’s cultural fate. For the same reason, city is not a mere physical place, but a spatial concept. Not only has city become inseparable from man’s personal and national destiny but also one’s life continues to unfold on city’s streets. James Joyce’s (1882-1941) A Portrait of the Artist as a Young Man (A Portrait, 2000) deals with Joyce’s home, Dublin. Joyce aims to universalize and simultaneously eternalize his home through his art. Accordingly, the reader of his text is to decipher the cultural signs of Dublin to get into it. As Michael Ryan (1946-) refers to culture as the total way of life that it has multiple meanings; to understand the culture of a city, to read its meaning, one has to decipher it. Semiology, based on Roland Barthes (1915-1980), is the science of signs whose emphasis is on the interpretation of codes, signs and symbols in a particular culture. Thus, the culture of Dubliners portrayed in A Portrait can be decoded through semiology by the readers. Stephen Dedalus is one who deciphers the cultural signs such as paralysis, religion, prostitution and confession through his walking in Dublin. He considers them as nets of Dublin that he tries to escape from them.

With the present issue, Studies in Second Language Learning and Teaching enters the fifth year of its existence, a year that has already started on a very positive note as the journal has just been included in the European Reference Index for the Humanities (ERIH PLUS). This, as well as the fact that SSLLT has been indexed or abstracted in other prestigious databases, constitutes tangible proof of the growing recognition that it has been gaining in the field. It is also likely to contribute to a considerable increase in the number of citations, something that we need really badly if we want to have the journal listed by the Thomson Reuters Master Journal List. This is certainly a goal that we will be vigorously pursuing and I am confident that we will be able to accomplish it in the near future. Obviously, the number of citations depends in the main on the quality of the papers published because only the best ones stand the chance of being referred to by other specialists, particularly those who routinely publish their work in the most prestigious journals in the field. We are doing our best to ensure the highest possible quality of the papers that appear in SSLLT and one way to do it is to invite renowned scholars as guest editors of thematic issues. This is exactly what is going to happen this year since Sarah Mercer and Stephen Ryan have kindly agreed to put together two issues of the journal which will include papers based on presentations delivered during the first conference on psychology and language learning, which was held in Graz in May, 2014. The line-up of contributors to these two issues is really impressive and they will surely be a real treat for our readers. This is by no means to suggest that the papers included in the regular editions are any less valuable or engaging, as amply demonstrated by the present one.

Afro-Atlantic Dialogues: Anthropology in the Diaspora, edited by Kevin A. Yelvington (reviewed by Aisha Khan)Central Africans, Atlantic Creoles, and the Foundation of the Americas, 1585-1660, by Linda M. Heywood & John K. Thornton (reviewed by James H. Sweet)An Eye for the Tropics: Tourism, Photography, and Framing the Caribbean Picturesque, by Krista A. Thompson (reviewed by Carl Thompson)Taíno Indian Myth and Practice: The Arrival of the Stranger King, by William F. Keegan (reviewed by Frederick H. Smith) Historic Cities of the Americas: An Illustrated Encyclopedia, by David F. Marley (reviewed by Richard L. Kagan) Arming Slaves: From Classical Times to the Modern Age, edited by Christopher Leslie Brown & Philip D. Morgan (reviewed by James Sidbury)Sweet Negotiations: Sugar, Slavery, and Plantation Agriculture in Early Barbados, by Russell R. Menard (reviewed by Kenneth Morgan)Jamaica in 1850 or, The Effects of Sixteen Years of Freedom on a Slave Colony, by John Bigelow (reviewed by Jean Besson) Moral Capital: Foundations of British Abolitionism, by Christopher Leslie Brown (reviewed by Cassandra Pybus) Caribbean Journeys: An Ethnography of Migration and Home in Three Family Networks, by Karen Fog Olwig (reviewed by George Gmelch) Afro-Caribbean Immigrants and the Politics of Incorporation: Ethnicity, Exception, or Exit, by Reuel R. Rogers (reviewed by Kevin Birth) Puerto Rican Arrival in New York: Narratives of the Migration, 1920-1950, edited by Juan Flores (reviewed by Wilson A. Valentín-Escobar)The Conquest of History: Spanish Colonialism and National Histories in the Nineteenth Century, by Christopher Schmidt-Nowara (reviewed by Aline Helg)Gender and Slave Emancipation in the Atlantic World, edited by Pamela Scully & Diana Paton (reviewed by Bernard Moitt) Gender and Democracy in Cuba, by Ilja A. Luciak (reviewed by Florence E. Babb) The “New Man” in Cuba: Culture and Identity in the Revolution, by Ana Serra (reviewed by Jorge Duany) Lydia Cabrera and the Construction of an Afro-Cuban Cultural Identity, by Edna M. Rodríguez-Mangual (reviewed by Brian Brazeal) Worldview, the Orichas, and Santeria: Africa to Cuba and Beyond, by Mercedes Cros Sandoval (reviewed by Elizabeth Pérez)The 1812 Aponte Rebellion in Cuba and the Struggle against Atlantic Slavery, by Matt D. Childs (reviewed by Manuel Barcia) Caliban and the Yankees: Trinidad and the United States Occupation, by Harvey R. Neptune (reviewed by Selwyn Ryan) Claims to Memory: Beyond Slavery and Emancipation in the French Caribbean, by Catherine A. Reinhardt (reviewed by Dominique Taffin) The Grand Slave Emporium, Cape Coast Castle and the British Slave Trade, by William St. Clair (reviewed by Ray A. Kea) History of the Caribbean, by Frank Moya Pons (reviewed by Olwyn M. Blouet) Out of the Crowded Vagueness: A History of the Islands of St Kitts, Nevis & Anguilla, by Brian Dyde (reviewed by Karen Fog Olwig) Scoping the Amazon: Image, Icon, Ethnography, by Stephen Nugent (reviewed by Neil L. Whitehead)

Resumen En la investigación en humanidades mediada por un entorno digital aparecen los datos como fuente de nuevos objetos de conocimiento. Este artículo analiza cuál es la naturaleza de los datos, de qué forma representan los objetos y cuáles son las dificultades para que los datos sean inteligibles. Para ello tomamos como ejemplo el trabajo desarrollado dentro del proyecto Intercambios Oceánicos, con el fin de mostrar que los datos se construyen por capas y que en cada una de ellas se ve comprometida su inteligibilidad. Es por ello que consideramos los datos como epistemológicamente frágiles y su constitución como objeto de estudio aún insuficiente para dar lugar a una nueva forma de conocimiento. Palabras clave Datos; Humanidades; Humanidades digitales; Epistemología; Algoritmos Referencias Berry, David. “The Computational Turn: Thinking about the Digital Humanities.” Culture Machine 12 (2011). https://sro.sussex.ac.uk/id/eprint/49813/1/BERRY_2011-THE_COMPUTATIONAL_TURN-_THINKING_ABOUT_THE_DIGITAL_HUMANITIES.pdf 23 de septiembre 2019 Borgman, Christine L. “The Digital Future Is Now: A Call to Action for the Humanities.” Digital Humanities Quarterly 3, no. 4 (January 2, 2010). https://escholarship.org/uc/item/0fp9n05s. 28 de septiembre 2019 Brennan, Timothy. “The Digital-Humanities Bus.” The Chronicle of Higher Education, (Octubre 15, 2017). https://www.chronicle.com/article/The-Digital-Humanities-Bust/241424 23 de septiembre 2019 Cordell, Ryan. “‘Q i-Jtb the Raven’: Taking Dirty OCR Seriously.” Book History 20, no. 1 (2017): 188–225. https://doi.org/10.1353/bh.2017.0006. 28 de septiembre 2019 Flanders, Julia. “Building Otherwise.” En Bodies of Information : Intersectional Feminism and Digital Humanities. Debates in the Digital Humanities. Minnesota: University of Minnesota Press, 2018. 289-304 Kirschi, Adam. “Technology Is Taking Over English Departments.” The New Republic (Mayo 2, 2014) https://newrepublic.com/article/117428/limits-digital-humanities-adam-kirsch. 23 de septiembre 2019 Marche, Stephen. “Literature Is Not Data: Against Digital Humanities.” Los Angeles Review of Books. (Octubre 28, 2012). https://lareviewofbooks.org/article/literature-is-not-data-against-digital-humanities/. 23 de septiembre 2019 Michel, Jean-Baptiste, Yuan Kui Shen, Aviva Presser Aiden, Adrian Veres, Matthew K. Gray, Joseph P. Pickett, Dale Hoiberg. “Quantitative Analysis of Culture Using Millions of Digitized Books.” Science 331, no. 6014 (January 14, 2011): 176. https://doi.org/10.1126/science.1199644. 28 de septiembre 2019 Moretti, Franco. Distant Reading. London ; New York: Verso, 2013. Schöch, Christof. “Big? Smart? Clean? Messy? Data in the Humanities.” Journal of Digital Humanities 2. (Summer, 2013). http://journalofdigitalhumanities.org/2-3/big-smart-clean-messy-data-in-the-humanities/. 28 de septiembre 2019 Schreibman, Susan, Raymond George Siemens, John Unsworth. “A Companion to Digital Humanities” Blackwell Companions to Literature and Culture 26 (2004). http://www.digitalhumanities.org/companion/view?docId=blackwell/9781405103213/9781405103213.xml&chunk.id=ss1-1-3&toc.depth=1&toc.id=ss1-1-3&brand=default 23 de septiembre 2019 Sculley, D., and Bradley M. Pasanek. “Meaning and Mining: The Impact of Implicit Assumptions in Data Mining for the Humanities.” Digital Scholarship in the Humanities 23, no. 4 (September 12, 2008): 409–24. https://doi.org/10.1093/llc/fqn019. 28 de septiembre 2019 Sneha, Puthiya Purayil. Mapping Digital Humanities in India. India: The Centre for Internet and Society, 2016. Hui, Yuk. “A Phenomenological Inquiry on the Emergence of Digital Things.” En What Does a Chameleon Look Like? Cologne: Herbert von Halem Verlag, 2011. 338-351

-Peter Hulme, Stephen Greenblatt, New World Encounters. Berkeley: University of California Press, 1993. xviii + 344 pp.-Nigel Rigby, Alan Riach ,The radical imagination: Lectures and talks by Wilson Harris. Liège: Department of English, University of Liège, xx + 126 pp., Mark Williams (eds)-Jonathan White, Rei Terada, Derek Walcott's poetry: American Mimicry. Boston: North-eastern University Press, 1992. ix + 260 pp.-Ray A. Kea, John Thornton, Africa and Africans in the making of the Atlantic world, 1400-1680. Cambridge: Cambridge University Press, 1992. xxxviii + 309 pp.-B.W. Higman, Barbara L. Solow, Slavery and the rise of the Atlantic system. Cambridge: Cambridge University Press, 1991. viii + 355 pp.-Sidney W. Mintz, Michael Mullin, Africa in America: Slave acculturation and resistance in the American South and the British Caribbean, 1736-1831. Urbana: University of Illinois Press. 412 pp.-Karen Fog Olwig, Corinna Raddatz, Afrika in Amerika. Hamburg: Hamburgisches Museum für Völkerkunde, 1992. 264 pp.-Lee Haring, William Bascom, African folktales in the new world. Bloomington: Indiana University Press, 1992. xxv + 243 pp.-Frank Jan van Dijk, Dale A. Bisnauth, History of religions in the Caribbean. Kingston: Kingston Publishers, 1989. 225 pp.-Gloria Wekker, Philomena Essed, Everyday racism: Reports from women of two cultures. Alameda CA: Hunter House, 1990. xiii + 288 pp.''Understanding everyday racism: An interdisciplinary theory. Newbury Park CA: Sage, 1991. x + 322 pp.-Deborah S. Rubin, Vron Ware, Beyond the Pale: White women, racism, and history. London: Verso, 1992. xviii + 263 pp.-Michael Hanchard, Peter Wade, Blackness and race mixture: The dynamics of racial identity in Colombia. Baltimore: John Hopkins University Press, 1993. xv + 415 pp.-Rosalie Schwartz, Louis A. Pérez, Jr., Slaves, sugar, & colonial society: Travel accounts of Cuba, 1801-1899. Wilmington DE: SR Books, 1992. xxvi + 259 pp.-Susan Eckstein, Sandor Halebsky ,Cuba in transition: Crisis and transformation. With Carolee Bengelsdorf, Richard L. Harris, Jean Stubbs & Andrew Zimbalist. Boulder CO: Westview, 1992. xi + 244 pp., John M. Kirk (eds)-Michiel Baud, Andrés L. Mateo, Mito y cultura en la era de Trujillo. Santo Domingo: Librería La Trinitario/Instituto del Libro, 1993. 224 pp.-Edgardo Meléndez, Andrés Serbin, Medio ambiente, seguridad y cooperacíon regional en el Caribe. Caracas: Editorial Nueva Sociedad, 1992. 147 pp.-Dean W. Collinwood, Michael Craton ,Islanders in the stream: A history of the Bahamian people. Volume One: From Aboriginal times to the end of slavery. Athens: University of Georgia Press, 1992. xxxiii + 455 pp., Gail Saunders (eds)-Gary Brana-Shute, Alan A. Block, Masters of paradise: Organized crime and the internal revenue service in the Bahamas. New Brunswick NJ: Transaction Publishers, 1991. vii + 319 pp.-Michaeline Crichlow, Patrick Bryan, The Jamaican people 1880-1902. London: Macmillan Caribbean, 1991. xiv + 300 pp.-Faye V Harrison, Lisa Douglass, The power of sentiment: Love, hierarchy, and the Jamaican family elite. Boulder CO: Westview, 1992. xviii + 298 pp.-Frank Jan van Dijk, Bob Marley, Songs of freedom: From 'Judge Not' to 'Redemption Song.' Kingston: Tuff Gong/Bob Marley Foundation / London : Island Records, 1992 (limited edition). 63 pp. + 4 compact discs.-Riva Berleant-Schiller, Veront M. Satchell, From plots to plantations: Land transactions in Jamaica, 1866-1900. Mona: University of the West Indies, 1990. xiii + 197 pp.-Hymie Rubenstein, Christine Barrow, Family, land and development in St. Lucia. Cave Hill, Barbados: Institute for social and economic studies (ISER), University of the West Indies, 1992. xii + 83 pp.-Bonham C. Richardson, Selwyn Ryan, Social and occupational stratification in contemporary Trinidad and Tobago. St. Augustine, Trinidad: ISER, 1991. xiv + 474 pp.-Bill Maurer, Roland Littlewood, Pathology and identity: The work of Mother Earth in Trinidad. Cambridge: Cambridge University Press, 1993. xxii + 322 pp.-Robert Fatton, Jr., Brian Weinstein ,Haiti: The failure of politics. New York: Praeger, 1992. ix + 203 pp., Aaron Segal (eds)-Uli Locher, Michel S. Laguerre, The military and society in Haiti. Knoxville: University of Tennessee Press, 1993. x + 223 pp.-Paul E. Brodwin, Leslie G. Desmangles, The faces of the Gods: Vodou and Roman Catholicism in Haiti. Chapel Hill: University of North Carolina Press, 1992. xiii + 218 pp.-Marian Goslinga, Enid Brown, Bibliographical guide to Caribbean mass communication. John A. Lent (comp.). Westport CT: Greenwood Press, 1992. xi + 301 pp.''Suriname and the Netherlands Antilles: An annotated English-language bibliography. Metuchen NJ: Scarecrow Press, 1992. xi + 276 pp.-Jay B. Haviser, F.R. Effert, J.P.B. de Josselin de Jong, curator and archaeologist: A study of his early career (1910-1935). Leiden: Centre of Non-Western studies, University of Leiden, 1992. v + 119 pp.-Hans van Amersfoort, Anil Ramdas, De papegaai, de stier en de klimmende bougainvillea. Essays. Amsterdam: De Bezige Bij, 1992.-Ineke van Wetering, Deonarayan, Curse of the Devtas. Paramaribo: J.J. Buitenweg, 1992. v + 103 pp.-Ineke van Wetering, G. Mungra, Hindoestaanse gezinnen in Nederland. Leiden: Centrum voor Onderzoek Maatschappelijke Tegenstellingen, Rijksuniversiteit Leiden, 1990. 313 pp.-J.M.R. Schrils, Alex Reinders, Politieke geschiedenis van de Nederlandse Antillen en Aruba 1950-1993. Zutphen: Walburg Pers, 1993. 430 pp.-Gert Oostindie, G.J. Cijntje ,Stemmen OK, maar op wie? Delft: Eburon, 1991. 150 pp., A. Nicatia, F. Quirindongo (eds)-Genevieve Escure, Donald Winford, Predication in Caribbean English Creoles. Amsterdam & Philadelphia: John Benjamins, 1993, viii + 419 pp.-Jean D'Costa, Lise Winer, Trinidad and Tobago. Amsterdam & Philadelphia: John Benjamins, 1993. xi + 369 pp. (plus cassette)

Nevitte, Neil, André Blais, Elisabeth Gidengil and Richard Nadeau. Unsteady State: The 1997 Canadian Federal Election. By Duff Spafford 177Arend, Sylvie et Christiane Rabier. Le processus politique. Environnement, prise de décision et pouvoir. Par Christine Bout de l'An 178Cairns, Alan C., John C. Courtney, Peter MacKinnon, Hans J. Michelmann and David E. Smith, eds. Citizenship, Diversity, and Pluralism: Canadian and Comparative Perspectives. By Idil Boran 180Benoit, William L. Seeing Spots: A Functional Analysis of Presidential Advertisements, 1952-1996. By Richard Jenkins 182Reichmann, Rebecca, ed. Race in Contemporary Brazil: From Indifference to Inequality. By Ronald Schmidt, Sr. 183McLaren, Peter. Che Guevara, Paulo Freire, and the Pedagogy of Revolution. By Marco A. Navarro-Génie 184Laffan, Michael. The Resurrection of Ireland: The Sinn Fein Party 1916-1923. By Gretchen Macmillan 186Schmitter, Philippe C. How to Democratize the European Union . . . and Why Bother? By Amir Abedi 187Mandelbaum, Michael, ed. The New European Diasporas: National Minorities and Conflict in Eastern Europe. By Pál Dunay 189Guibernau, Monserrat. Nations without States: Political Communities in a Global Age. By Margaret Moore 192Arneil, Barbara. Politics and Feminism. By Judith Squires 193Miller, David. Principles of Social Justice. By Annabelle Lever 195Carens, Joseph H. Culture, Citizenship, and Community: A Contextual Exploration of Justice as Evenhandedness. By Monique Deveaux 197Joppke, Christian and Steven Lukes, eds. Multicultural Questions. By Alan Patten 198Steinhart, Eric. On Nietzsche. By Craig Beam 200Verma, Vidhu. Justice, Equality and Community: An Essay in Marxist Political Theory. By Brian Caterino 201Stoett, Peter. Human and Global Security: An Exploration of Terms. By Lowell Ewert 203Clement, Norris C., Gustavo del Castillo Vera, James Gerber, William A. Kerr, Alan J. MacFadyen, Stanford Shedd, Eduardo Zepeda and Diane Alarcón. North American Economic Integration: Theory and Practice. By Tony Porter 204Enloe, Cynthia. Maneuvers: The International Politics of Militarizing Women's Lives. By Maya Eichler 205Youngs, Gillian. International Relations in a Global Age: A Conceptual Challenge. By Sandra Whitworth 207Paul, T.V. and John A. Hall, eds. International Order and the Future of World Politics. By Kim Richard Nossal 208Deng, Yong and Fei-Ling Wang, eds. In the Eyes of the Dragon: China Views the World. By Jeremy Paltiel 210Regan, Patrick M. Civil Wars and Foreign Powers: Outside Intervention in Intrastate Conflict. By Stephen Ryan 212Sandler, Todd and Keith Hartley. The Political Economy of NATO: Past, Present, and into the 21st Century. By David G. Haglund 213Yeung, May T., Nicholas Perdikis and William A. Kerr. Regional Trading Blocs in the Global Economy: The EU and ASEAN. By Richard Stubbs 215Zeiler, Thomas W. Free Trade, Free World: The Advent of GATT. By Sir Nicholas Bayne, KCMG 216

Abstract The Society gratefully acknowledges the time and effort of the following individuals who served as reviewers of abstracts for this meeting: ASH ABSTRACTS COORDINATING REVIEWERS Blanche P. Alter Stephen M. Ansell Ralph B. Arlinghaus Scott Armstrong Asad Bashey Philip Bierman Neil Blumberg Chiara Bonini Dominique Bonnet Jacqueline Boultwood Rena Buckstein John C. Byrd Marc Carrier Lucio H. Castilla Selina Chen-Kiang Nicholas Chiorazzi Jorge Cortes-Franco Claire E. Dearden Mary C. Dinauer Harry Paul Erba Carolyn A. Felix Pierre Fenaux Debra L. Friedman Irene M. Ghobrial Jason R. Gotlib Brandon Hayes-Lattin Cheryl A. Hillery Achille Iolascon Jean-Pierre J. Issa Sundar Jagannath Diane F. Jelinek H. Phillip Koeffler John Koreth Robert J. Kreitman Robert B. Levy David Lillicrap Richard Lottenberg John D. McMannis Mark D. Minden Charles G. Mullighan Arnon Nagler Peter J. Newman Robert Z. Orlowski Antonio Palumbo Julie A. Panepinto Warren S. Pear Sibrand Poppema Barbara Pro Ching-Hon Pui A. Koneti Rao Aaron P. Rapoport Pieter H. Reitsma Douglas D. Ross J. Eric Russell Barbara Savoldo Kirk R. Schultz Radek C. Skoda Marilyn L. Slovak Susan Smyth Hugo ten Cate Herve Tilly John M. Timmerman Ivo Touw Amy J. Wagers Russell E. Ware Catherine J. Wu Virginia M. Zaleskas ASH ABSTRACTS REVIEWERS Camille Abboud Omar Abdel-Wahab Jeremy Abramson Suneet Agarwal Sikander Ailawadhi Onder Alpdogan Andrew Aprikyan Mary Armanios Aneel Ashrani Norio Asou Aglaia Athanassiadou Eyal Attar Mohammad Azam Maria Baer Jorg Baesecke Sarah Ball Karen Ballen Frederic Baron Shannon Bates Minoo Battiwalla Marie Bene Charles Bennett James Berenson Steven Bernstein Francesco Bertoni Monica Bessler Wolfgang Bethge Kapil Bhalla Deepa Bhojwani James Bieker Bruce R. Blazar Annemarie Block David Bodine Catherine Bollard Antonio Bonati Eric Bouhassira Benjamin Braun Christopher Bredeson Patrick Brown Ross Brown Jan Burger Dario Campana Jose Cancelas Paul Carpenter Andrew Carroll James Casella Rebecca Chan Roy Chemaly Benny Chen Jerry Cheng Linzhao Cheng Bruce Cheson Mark Chiang Athar Chishti Hearn Cho Magdalena Chrzanowska-Wodnicka Richard E. Clark Joseph Connors Kenneth Cooke Miguel Cruz Adam Cuker Sandeep Dave Janice Davis Sproul Lucia De Franceschi Philip De Groot Rodney DeKoter Richard Delarue Stephen Devereux Steven Devine Paola Jorge Di Don Diamond Meletios Dimopoulos John DiPersio Angela Dispenzieri Benjamin Djulbegovic Jing-fei Dong James Downing William Drobyski Rafael Duarte Charles Dumontet Kieron Dunleavy Brian Durie Dimitar Efremov Elizabeth Eklund Jonas Emsley Patricia Ernst Andrew Evens Chris Fegan Andrew Feldman Giuliana Ferrari Willem Fibbe Adele Fielding Thoas Fioretos Robert Flaumenhaft Rafael Fonseca James Foran Joseph Frank Janet Franklin Paul Frenette Alan Friedman Terry Fry Saghi Gaffari Naomi Galili Patrick Gallagher Anne Galy David Garcia Randy Gascoyne Cristina Gasparetto Norbert Gattermann Tobias Gedde-Dahl Alan Gewirtz Francis Giles Robert Godal Lucy Godley Ivana Gojo Norbert Gorin Andre Goy Eric Grabowski Steven Grant Timothy Graubert Elizabeth Griffiths H. Leighton Grimes Claudia Haferlach Corinne Haioun Parameswaran Hari Christine Harrison Robert Hasserjian Nyla Heerema Shelly Heimfeld Roland Herzog Elizabeth Hexner Teru Hideshima William H. Hildebrand Gerhard Hildebrandt Devendra Hiwase Karin Hoffmeister Donna Hogge Scott Howard Brian Huntly Hiroto Inaba Baba Inusa Shai Izraeli Suresh Jhanwar Amy Johnson Craig Jordan Joseph Jurcic Nina Kadan-Lottick Lawrence Kaplan Jonathan Kaufman Neil Kay Michelle Kelliher Craig Kessler H. Jean Khoury Allison King Joseph Kiss Issay Kitabayashi Robert Klaassen Christoph Klein Yoshihisa Kodera Alexander Kohlmann Barbara Konkle Michael Kovacs Robert Kralovics Amrita Krishnan Nicolaus Kroger Ashish Kumar Ralf Küppers Jeffery Kutok Ann LaCasce Raymond Lai David Lane Peter Lane Richard Larson Michelle Le Beau Gregoire Le Gal Ollivier Legrand Suzanne Lentzsch John Leonard John Levine Ross Levine Linheng Li Renhao Li Zhenyu Li Wendy Lim Charles Linker Jeffrey Lipton Per Ljungman John Lollar Philip Low David Lucas Selina Luger Leo Luznik Gary Lyman Jaroslaw Maciejewski Elizabeth MacIntyre Nigel Mackman Luca Malcovati Guido Marcucci Tomer Mark Susan Maroney Giovanni Martinelli Peter Maslak Alan Mast Grant McArthur Philip McCarthy Michael McDevitt Peter McLaughlin Bruno Medeiros Jules P.P. Meijerink Junia Melo Thomas Mercher Bradley Messmer Marco Mielcarek Ken Mills Shin Mineishi Arturo Molina Silvia Montoto Marie Joelle Mozziconacci Auayporn Nademanee Vesna Najfeld Eneida Nemecek Ellis Neufeld Peter Newburger Heyu Ni Charlotte Marie Niemeyer Yago Nieto Anne Novak Paul O\'Donnell Vivian Oehler Fritz Offner Johannes Oldenburg Rebecca Olin Richard J. O'Reilly Thomas Ortel Keiya Ozawa Rose Ann Padua Sung-Yun Pai James Palis Derwood Pamphilon Animesh Pardanani Farzana Pashankar Andrea Pellagatti Catherine Pellat-Deceunynck Louis Pelus Chris Pepper Melanie Percy Andrew Perkins Luke Peterson Andrew Pettitt Javier Pinilla-Ibarz Kimmo Porkka David Porter Amy Powers Claude Preudhomme Frederick Racke Margaret Ragni Thomas Raife Alessandro Rambaldi Mariusz Ratajczak Pavan Reddy Mary Relling Tannishtha Reya Lisa Rimsza Stefano Rivella Isabelle Riviere Pamela Robey Gail Roboz Aldo Roccaro Maria Alma Rodriguez Frank Rosenbauer Laura Rosinol Alan Rosmarin Giuseppe Saglio Jonathan Said Valeria Santini Ravindra Sarode Yogenthiran Saunthararajah Bipin Savani Alan Schechter Charles Schiffer Robert Schlossman Laurie Sehn Rita Selby Orhan Sezer Sadhna Shankar John Shaughnessy Jordan Shavit Kevin Sheehan Shalini Shenoy Colin Sieff Paul Simmons Seema Singhal Sonali Smith Gerard Socie Pieter Sonneveld Simona Soverini David Spaner Steven Spitalnik Kostas Stamatopoulos David Steensma Richard Stone Toshio Suda Perumal Thiagarajan Courtney Thornburg Rodger Tiedemann David Traver Guido Tricot Darrell Triulzi Suzanne Trudel Christel Van Geet Karin Vanderkerken David Varon Amit Verma Srdan Verstovsek Ravi Vij Dan Vogl Loren Walensky Edmund Waller George Weiner Daniel Weisdorf Karl Welte Peter Westervelt Adrian Wiestner P.W. Wijermans John Wingard Anne Woolfrey Mingjiang Xu Qing Yi Anas Younes Ryan Zarychanski Arthur Zelent Clive Zent Dong-Er Zhang Xianzheng Zhou James Zimring

The prevalence of advanced dementia (AD) is expected to increase dramatically over the next few decades. Patients with AD suffer from recurrent episodic illnesses that frequently result in transfers to acute care hospitals. The default pathway followed by some emergency physicians, internists and intensivists who see those patients is to prioritize disease-directed therapies over attention to the larger picture of AD. While this strategy is desired by many families, some families prefer a different approach. This essay examines the reason why there can be a failure to focus on the over-arching issue of AD and offers suggestions for improvement. Gaps in information and physician workload are important factors, but we argue that until physicians who see patients in emergency departments learn to pause first and ask “Why are we doing this?” they will revert to their comfort zone of ordering tests and therapies that may be unwanted. A separate emergency palliative care pathway may be one solution. Shifting the focus back to the larger picture of AD and away from the physiologic disturbance of the moment may alter the trajectory of care in ways that truly respect the wishes of some patients and their families. On s’attend à ce que la prévalence de la démence avancée (DA) augmente de façon extrêmement importante au cours des prochaines décennies. Or, il arrive que des patients atteints de DA soient aux prises avec des maladies épisodiques récurrentes qui entraînent fréquemment un transfert dans un hôpital de soins actifs. La voie suivie par défaut par certains urgentologues, internistes et intensivistes qui reçoivent ces patients consiste à donner la priorité à l’application de traitements axés sur la maladie plutôt qu’à aborder le problème plus large de la DA. Cette stratégie satisfait bien des familles, mais certaines préfèrent une autre approche. Cet article examine pourquoi on semble vouloir éviter de s’attarder au problème récurrent de la DA et offre des suggestions d’amélioration. Des lacunes en matière d’information ainsi que la charge de travail des médecins sont sûrement des facteurs importants qui mènent à cette situation. Toutefois, nous soutenons que tant que les médecins qui voient ces patients au service des urgences ne prendront pas le temps de s’arrêter et de se questionner sur leur choix d’actions, ils se limiteront à se retirer dans leur zone de confort qui consiste à prescrire des tests et des traitements qui risquent d’être inopportuns. Une voie distincte en matière de soins palliatifs d’urgence peut s’avérer être une solution. En déplaçant l’accent mis sur les troubles physiologiques du moment pour le mettre sur le problème plus large de la DA, la trajectoire des soins pourrait être modifiée de façon à mieux respecter les désirs de certains patients et de leur famille.An 84-year-old bed-bound man with severe Alzheimer’s dementia presents to the emergency department with pneumonia, accompanied by his 3 daughters. He has been hospitalized 4 times in the past 2 years for antibiotic-associated Clostridium difficile diarrhea. Antibiotics and intravenous fluids were started by the first physicians who saw him. An internist was consulted to take over his care.In 2016, 564,000 Canadians were living with dementia. Each year 25,000 new cases of dementia are diagnosed, and it is expected that by 2030 there will be close to 1 million Canadians who have dementia.1 People with advanced dementia (AD) suffer with cognitive deficits and are unable to communicate, ambulate and have incontinence. They are at high risk for imminent death,2,3 an under-recognized fact even among health care professionals.4 In contrast to patients with terminal cancer and end stage heart disease, most patients with AD do not die from devastating acute events (like bowel obstruction, or heart failure) that result from the progression of their primary disease. Instead, they die from recurrent episodic illnesses that can be treated with relatively simple therapeutic responses (like intravenous fluids or antibiotics). 3 These include pneumonias, urinary tract and skin infections, influenza, problems with eating (including aspiration) and dehydration. It is not surprising that in the United States that 19% of nursing home residents with cognitive impairment experience at least one transfer to a hospital in the last 120 days of life.5When these patients arrive in the emergency department (ED), the default pathway is to prioritize disease-directed therapies (e.g., intravenous fluid and antibiotics) over attention to the larger picture of AD. The physiologic disturbances receive intense focus and the AD is seemingly forgotten. These patients often suffer from treatable symptoms, including pain and shortness of breath.3 In some (but not all) cases, patients may receive care they don’t really want, families may be afraid to express their true wishes, and health care professionals may deliver care they suspect is unnecessary, or even harmful. This essay examines the reasons why this phenomenon occurs and offers suggestions for improvement by encouraging acute care clinicians to pause and ask themselves, “Why are we doing this?” and by engage family members in focused goals of care discussions that include outcomes of aggressive disease-directed treatments and palliative approaches.There are many reasons why the physicians who treat these patients in acute care hospitals (primarily emergency physicians, internists/hospitalists and intensivists) prioritize life-sustaining therapies over relief of burdensome symptoms as the default strategy. Information gaps affect the process of care. These physicians likely assume that a transfer to an acute care facility indicates the (sometimes mistaken) desire for life-sustaining interventions by the patient’s relatives. Transfer decisions are a human endeavour, and thus are subject to error6 especially when personnel worry about blame. While nearly half of all transfers from nursing homes to the ED are for cardiovascular and respiratory problems, 7 key factors influencing decisions to transfer as reported by family physicians include medico-legal concerns, family pressure, the capability of nursing home staff and the physician’s workload.8Even in Ontario, where nursing home residents are legally required to have annually updated instructions about whether transfer to acute care hospitals is indicated, the process only works as well as the nature of the counselling and discussion (which is often perfunctory) that takes place before the patients or their legal substitutes sign that document. In the United States, it is unclear how and whether the rapid uptake of Physician Orders for Life-Sustaining Treatment in nursing homes has affected end-of-life care in AD.9 From an economic and medico-legal perspective, there is no incentive for nursing homes or their staff to manage the acutely ill nursing home patient themselves, and every incentive to transfer care to an ED even when “no transfer” instructions are clearly recorded. The physician who meets the patient for the first time in the ED often lacks familiarity with the patient’s clinical course and his or her family, which coupled with a lack of communication training for these circumstances, inhibits addressing goals of care directly.10Physician workload is also an important factor. In a busy ED, an empathetic conversation that elucidates patients’ goals of care, educates families about the outcomes of care11 and offers the option of prioritizing attention to symptoms takes time and requires a higher cognitive load than ordering tests, intravenous fluids and antibiotics. In addition, the process of acute care, once initiated, may be a contributing factor. Family members see that life-prolonging therapies can be given, making it more difficult for them to decide to forgo disease-directed therapies once started without being overwhelmed by a sense of guilt. Finally, precise prognostication in a patient with AD is fraught with hazards.12 All of these factors play a role, but overall, until the physicians who see patients in the ED acquire the expertise to routinely address goals of care, and experience the rewards and sense of professional fulfillment that can be derived from sparing patients unwanted invasive care, the opportunity to prioritize comfort may not be offered. Those physicians will revert to their comfort zone of checking the electrolytes, obtaining a chest x-ray and urine culture which then results in a discussion that starts by asking families questions like, “Do you want us to treat the hypernatremia?” When phrased that way, few family members (even those who are physicians) are prepared to say “No.”While assessing goals of care for patients with AD may currently be viewed as impractical in the busy ED, perhaps the right models have not been proposed. Complexity has not deterred the rapid response in EDs for patients with acute strokes and ST-elevation myocardial infarctions. One solution may be to develop a separate “emergency palliative care pathway” where the primary task is prioritizing relief of burdensome symptoms and eliciting true preferences.13 thus avoiding stressful lengthy stays in the chaotic ED where patients with AD are often of low priority. Interventions aimed upstream from the ED may include increasing resources for training of nursing home staff along with the provision of decision aids to assist caregivers in the clarification of goals of care prior to transfer to the ED.14Some patients with AD and their families may prefer prioritizing comfort above all else but may not be offered the chance to make that choice. In a survey of elderly hospitalized Canadians, 70% reported wanting to focus on providing comfort rather than life-prolonging treatment, yet 54% of these patients are admitted to intensive care units at the end of life. 15 Even if this circumstance occurs in a minority of the dementia patients who are sent to EDs, the substantial rise in the number of people with dementia means that it will occur much more commonly in the future. In these cases, emergency physicians and the consultants that they approach for help can play a critical role if they push the pause button before beginning empiric disease-directed therapies, and simply ask patients’ families, “What is your understanding of your loved one’s prognosis?” and, “ What are you hoping for?” On the one hand, these conversations take time. On the other, they can be efficient, focus on these simple questions, and describe outcomes of care including potential discomforts associated with treatments. By shifting the focus back to the larger picture of AD and away from the physiologic disturbance of the moment, they may alter the trajectory of care, ultimately reducing the burden to patients and their families. We can facilitate patients’ wishes and honour the truly vital role that family members play as members of the health care team.Returning to the case, after a 7-minute discussion of the goals and options for care, led by the internist, the patient’s daughters were unable to decide upon the best course of treatment. A phone call to his wife was made, and she indicated that comfort measures were “what he would want.” After initiating oxygen and subcutaneous morphine for relief of pain and dyspnea in the ED, the patient was transferred to the ward with palliative care physicians. He received comfort-directed care and died peacefully 4 days later surrounded by his family. Competing InterestsNone declared AcknowledgementsWe thank S. Ryan Greysen MD, Gurpreet Dhaliwal (both of University of California San Francisco), Lewis A. Lipsitz MD (Harvard), Howard Ovens MD and Barry J. Goldlist MD (both of University of Toronto) for comments on an earlier draft.References1. Alzheimer Society of Canada. Report summary Prevalence and monetary costs of dementia in Canada (2016): a report by the Alzheimer Society of Canada. Health promotion and chronic disease prevention in Canada: research, policy and practice. October 2016:231–32.2. Morrison RS, Siu AL. Survival in end-stage dementia following acute illness. JAMA 2000;284(1):47–52.3. Mitchell SL, Teno JM, Kiely DK, et al. The clinical course of AD. N Engl J Med 2009;361(16):1529–38. doi:10.1056/NEJMoa0902234.4. Chang A, Walter LC. Recognizing dementia as a terminal illness in nursing home residents: Comment on "Survival and comfort after treatment of pneumonia in AD." Arch Intern Med 2010;170(13):1107–1109. doi:10.1001/archinternmed.2010.166.5. Gozalo P, Teno JM, Mitchell SL, et al. End-of-life transitions among nursing home residents with cognitive issues. N Engl J Med 2011;365(13):1212–21. doi:10.1056/NEJMsa1100347.6. Stephens CE, Newcomer R, Blegen M, Miller B, Harrington C. Emergency department use by nursing home residents: effect of severity of cognitive impairment. Gerontologist 2012;52(3):383–93. doi:10.1093/geront/gnr109.7. Jensen PM, Fraser F, Shankardass K, Epstein R, Khera J. Are long-term care residents referred appropriately to hospital emergency departments? Can Fam Physician 2009;55(5):500–505.8. McDermott C, Coppin R, Little P, Leydon G. Hospital admissions from nursing homes: a qualitative study of GP decision making. Br J Gen Pract 2012;62(601):e538–e545. doi:10.3399/bjgp12X653589.9. Halpern SD. Toward evidence-based end-of-life care. N Engl J Med 2015;373(21):2001-2003. doi:10.1056/NEJMp1509664.10. Lamba S, Nagurka R, Zielinski A, Scott SR. Palliative care provision in the emergency department: barriers reported by emergency physicians. J Palliat Med 2013;16(2):143–47. doi:10.1089/jpm.2012.0402.11. Givens JL, Jones RN, Shaffer ML, et al. Survival and comfort after treatment of pneumonia in AD. Arch Intern Med 2010;170(13):1102–107. doi:10.1001/archinternmed.2010.181.12. Mitchell SL, Miller SC, Teno JM, et al. Prediction of 6-month survival of nursing home residents with advanced dementia using ADEPT vs hospice eligibility guidelines. JAMA 2010;304(17):1929–35. doi:10.1001/jama.2010.1572.13. Grudzen CR, Stone SC, Morrison RS. The palliative care model for emergency department patients with advanced illness. J Palliat Med 2011;14(8):945–50. doi:10.1089/jpm.2011.0011.14. Hanson LC, Zimmerman S, Song M-K, et al. Effect of the goals of care intervention for AD. JAMA Intern Med 2017;177(1):24–28. doi:10.1001/jamainternmed.2016.7031.15. Fowler R, Hammer M. End-of-life care in Canada. Clin Invest Med 2013;36(3):E127–E132.

The ways in which artists, musicians, filmmakers and other creative practitioners perceive, navigate and represent 'place' in their work is complex and multifaceted. Further, place-based conditions also influence the ways in which creative activity occurs in particular locales. This raises questions regarding the role of history, economics, attitudes towards and perceptions of particular forms of arts and culture, shared social and creative contexts, and the geographical location of places, in shaping and fostering creativity. While the relationship between place and creative practice is now widely recognised across the social sciences, it remains poorly conceptualised at the level of specific forms of artistic and creative practices and creative industries. The aim of this issue has been, therefore, to bring together scholarship from across a range of disciplines that is concerned with the relationship between broadly defined concepts of place and creativity.This issue brings together scholars whose work examines a wide range of geographical and digital, real and imagined concepts of place, working from a wide range of locales: America, Australia, Canada, Europe, New Zealand, Singapore and the United Kingdom. Practices related to artisans, music, film, visual arts and broadly, place-specific creative economies form the focus of this issue. Such a broad spectrum of scholars and associated sectors represents the vast ways in which concepts of place all at once influence, and be influenced by, creativity, and creative and cultural practices.The first five articles of this issue examine in various ways the relationship between culture, art and the urban. In the feature article, Samuel Whiting and David Carter focus on Australian live music to consider broader issues around access to places that cultivate artistic practice, communities and audiences. Their analysis suggests three key factors which enable and constraining access to live music: public transport; social status and stage of life; and government regulation. Their findings suggest that traditional conceptions of access have limited utility when applied to live music - an important conclusion in the context of high levels of venue closures and the pressing need to foster and support place-based live music scenes.Staying on the theme of music, Robert C. Kloosterman and Amanda Brandellero consider the role of the Chelsea Hotel in New York and the Indica Bookshop and Gallery in London in the 1960s as meeting places for musicians, artists, managers and hangers-on, and thus as key social institutions in the development of the music scenes of these cities. They suggest that their central location, proximity to night clubs and venues, tolerant atmosphere towards drugs and sex, and the continuous flow of key actors, acted together to foster cultural innovation. Thus innovation can be clearly tied to particular urban places and spaces at particular times. Yet often, ‘place’ is a much more difficult concept to tie down.Saesha Senger examines the music of Paris-based French rapper, MC Solaar. Senger points to the importance of local influences on Solaar’s music, such the way in which Parisian banlieues, nightclubs, and other places figure prominently in particular songs. Yet she also notes the importance of American references, used as part of a conscious connection to rap’s lineage. Thus the mixture of the local and global is highly evident in Solaar’s music, and Senger suggests that while countries, cities, neighbourhoods, and even specific government housing developments inform the music, the identities of these places are not fixed either for the performers or for the audience. His account thus points to some of the complexities of ‘place’ as it relates to culture and cultural production under contemporary globalization.Moving beyond music, Stephen Marotta, Austin Cummings and Charles Heying also consider some of the complexities of the concept of ‘place’, with specific reference to the Artisan Economy of Portland, Oregon. Their account of the resurgence of place specificity and branding, through the notion of ‘Portland Made’, seeks to reveal an important tension immanent in the notion of place: that place is both real and imaginary. ‘Place’, they suggest, conceptually captures various intersections of materiality and mythology, aesthetics and economics, with makers actively producing Portland as both a local and global ‘place’.The paper by Joshua Syenko examines the productive relationships between art, landscape and cities as sites of collective memory. Focusing on Gibellina, a Sicilian town destroyed in 1968 by a series of earthquakes, and the subsequent struggle among its community to articulate a sense of spatial belonging with its remains, Syenko considers how memorial objects in Gibellina have become integral to the reimagining of place. Questioning the relationships forged between the history of Gibellina and its architectural presentation, the paper raises important issues about the complexity of ‘place’ with regards its ritual and memorial functions.The next three papers perform the important task of switching our attention from the urban, on which the majority of literature on place and culture has tended to focus, to consider creativity and creative production in the context of rural and ‘peripheral’ places. Elasaid Munro focuses on recent attempts to develop the creative economy in rural Scotland. Within rural communities, she suggests, there is a sense of being distant from decision makers and being isolated in terms of practice. Her findings suggest that ‘importing’ models from urban contexts is alienating and frustrating for rural creatives, who seek through their work to contribute to the development of the communities within which they are embedded, rather than engaging in creative activities merely for economic gain. Highlighting the piecemeal funding and support landscape, Munro argues that targeted, rural-specific interventions are required if the potential of the rural creative industries is to be maximised.Staying in Scotland, and also focusing on the issue of appropriate frameworks of support for the creative economy, Katherine Champion explores the relationship between place and the screen industries. She argues the need for a closer examination of the role of incentives and infrastructure investment in developing a vibrant and sustainable industry. Recent success for the screen industries in Scotland, Champion suggests, can in part be attributed to interventions including increased decentralisation of broadcasting and high-end television tax incentives. Yet, she also identifies gaps in infrastructure which continue to stymie growth and have led to production drain to other centres. Important questions are raised regarding the difficulties of establishing a rich production ecology that is far removed from the traditional ‘hub’ of the industry in London and the South East England.Moving to rural Australia, Robin Ryan considers the mobilisation of culture as a socioeconomic resource. Specifically, she focuses on the town of Northcliffe, which in 2015 found itself at the centre of the largest wildfire in the recorded history of the southwest region. In her article, Ryan highlights the importance of the local creative scene in providing a cultural and socioeconomic resource for conservation and the healing of community spirit, and draws important links between place-based social, economic and material conditions and creative practices. In particular, she highlights how the ecologically-inspired musical representation of place can act to draw out the richness and significance of place.The issue closes with two papers that consider place not only as it is constituted physically but also virtually through digital technologies. Alfio Leotta argues that the digital revolution has been characterized by the overlapping of different media technologies and platforms which have not only reshaped forms of audiovisual consumption but also conceptions of place and space. Focusing on film locations, tourism, and digital mapping tools, Leotta demonstrates how the smartphone, as a new hybrid media platform online communication and GPS capability, has begun to play to a crucial role in the construction of new notions of place. He argues that, through providing new layers of cultural meaning and alternative modes of affective engagement, apps and maps are contributing to the redefinition of both the notion of tourist destination and the construction of place identity. Such research is crucial in shedding light on the way in which contemporary leisure activities reshape the cultural, social and geographic meaning of place.Finally, Jason Luger considers how the digital realm is necessitating a reconceptualization of urban space. Focusing on the concept of ‘placeless art’ through field-research in Singapore, Luger considers the ways in which social media and other digital platforms have extended the art-scape to a new, global, hyper-connected scale. Interactive and immaterial art-making, he argues, increasingly complements, and in some cases supplants, traditional place-based artistic practice. Yet, he emphasises that despite the emergence of ‘placeless’ art-forms, specific urban sites remain crucial anchoring nodes in a critical art ecosystem. Thus, we are returned squarely to the importance of place.When taken together, this collection of articles pick up on just some of the many complexities inherent in the relationship between place, culture and cultural production, across a variety of creative practices and geographical contexts. While there is much scholarship in this area, it is clear that our understanding of these complexities remains underdeveloped. This set of articles make an important contribution in this regard. All of the articles point to important avenues for further research, and we hope will inspire and shape further scholarship in this area.

Alex Abou-Chebl, MD Michael Abraham, MD Joseph E. Acker, III, EMT-P, MPH Robert Adams, MD, MS, FAHA Eric Adelman, MD Opeolu Adeoye, MD DeAnna L. Adkins, PhD Maria Aguilar, MD Absar Ahmed, MD Naveed Akhtar, MD Rufus Akinyemi, MBBS, MSc, MWACP, FMCP(Nig) Karen C. Albright, DO, MPH Felipe Albuquerque, MD Andrei V. Alexandrov, MD Abdulnasser Alhajeri, MD Latisha Ali, MD Nabil J. Alkayed, MD, PhD, FAHA Amer Alshekhlee, MD, MSc Irfan Altafullah, MD Arun Paul Amar, MD Pierre Amarenco, MD, FAHA, FAAN Sepideh Amin-Hanjani, MD, FAANS, FACS, FAHA Catherine Amlie-Lefond, MD Aaron M. Anderson, MD David C. Anderson, MD, FAHA Sameer A. Ansari, MD, PhD Ken Arai, PhD Agnieszka Ardelt, MD, PhD Juan Arenillas, MD PhD William Armstead, PhD, FAHA Jennifer L. Armstrong-Wells, MD, MPH Negar Asdaghi, MD, MSc, FRCPC Nancy D. Ashley, APRN,BC, CEN,CCRN,CNRN Stephen Ashwal, MD Andrew Asimos, MD Rand Askalan, MD, PhD Kjell Asplund, MD Richard P. Atkinson, MD, FAHA Issam A. Awad, MD, MSc, FACS, MA (hon) Hakan Ay, MD, FAHA Michael Ayad, MD, PhD Cenk Ayata, MD Aamir Badruddin, MD Hee Joon Bae, MD, PhD Mark Bain, MD Tamilyn Bakas, PhD, RN, FAHA, FAAN Frank Barone, BA, DPhil Andrew Barreto, MD William G. Barsan, MD, FACEP, FAHA Nicolas G. Bazan, MD, PhD Kyra Becker, MD, FAHA Ludmila Belayev, MD Rodney Bell, MD Andrei B. Belousov, PhD Susan L. Benedict, MD Larry Benowitz, PhD Rohit Bhatia, MBBS, MD, DM, DNB Pratik Bhattacharya, MD MPh James A. Bibb, PhD Jose Biller, MD, FACP, FAAN, FAHA Randie Black Schaffer, MD, MA Kristine Blackham, MD Bernadette Boden-Albala, DrPH Cesar Borlongan, MA, PhD Susana M. Bowling, MD Monique M. B. Breteler, MD, PhD Jonathan Brisman, MD Allan L. Brook, MD, FSIR Robert D. Brown, MD, MPH Devin L. Brown, MD, MS Ketan R. Bulsara, MD James Burke, MD Cheryl Bushnell, MD, MHSc, FAHA Ken Butcher, MD, PhD, FRCPC Livia Candelise, MD S Thomas Carmichael, MD, PhD Bob S. Carter, MD, PhD Angel Chamorro, MD, PhD Pak H. Chan, PhD, FAHA Seemant Chaturvedi, MD, FAHA, FAAN Peng Roc Chen, MD Jun Chen, MD Eric Cheng, MD, MS Huimahn Alex Choi, MD Sherry Chou, MD, MMSc Michael Chow, MD, FRCS(C), MPH Marilyn Cipolla, PhD, MS, FAHA Kevin Cockroft, MD, MSc, FACS Domingos Coiteiro, MD Alexander Coon, MD Robert Cooney, MD Shelagh B. Coutts, BSc, MB.ChB., MD, FRCPC, FRCP(Glasg.) Elizabeth Crago, RN, MSN Steven C. Cramer, MD Carolyn Cronin, MD, PhD Dewitte T. Cross, MD Salvador Cruz-Flores, MD, FAHA Brett L. Cucchiara, MD, FAHA Guilherme Dabus, MD M Ziad Darkhabani, MD Stephen M. Davis, MD, FRCP, Edin FRACP, FAHA Deidre De Silva, MBBS, MRCP Amir R. Dehdashti, MD Gregory J. del Zoppo, MD, MS, FAHA Bart M. Demaerschalk, MD, MSc, FRCPC Andrew M. Demchuk, MD Andrew J. DeNardo, MD Laurent Derex, MD, PhD Gabrielle deVeber, MD Helen Dewey, MB, BS, PhD, FRACP, FAFRM(RACP) Mandip Dhamoon, MD, MPH Orlando Diaz, MD Martin Dichgans, MD Rick M. Dijkhuizen, PhD Michael Diringer, MD Jodi Dodds, MD Eamon Dolan, MD, MRCPI Amish Doshi, MD Dariush Dowlatshahi, MD, PhD, FRCPC Alexander Dressel, MD Carole Dufouil, MD Dylan Edwards, PhD Mitchell Elkind, MD, MS, FAAN Matthias Endres, MD Joey English, MD, PhD Conrado J. Estol, MD, PhD Mustapha Ezzeddine, MD, FAHA Susan C. Fagan, PharmD, FAHA Pierre B. Fayad, MD, FAHA Wende Fedder, RN, MBA, FAHA Valery Feigin, MD, PhD Johanna Fifi, MD Jessica Filosa, PhD David Fiorella, MD, PhD Urs Fischer, MD, MSc Matthew L. Flaherty, MD Christian Foerch, MD Gregg C. Fonarow, MD, FAHA Andria Ford, MD Christine Fox, MD, MAS Isabel Fragata, MD Justin Fraser, MD Don Frei, MD Gary H. Friday, MD, MPH, FAAN, FAHA Neil Friedman, MBChB Michael Froehler, MD, PhD Chirag D. Gandhi, MD Hannah Gardener, ScD Madeline Geraghty, MD Daniel P. Gibson, MD Glen Gillen, EdD, OTR James Kyle Goddard, III, MD Daniel A. Godoy, MD, FCCM Joshua Goldstein, MD, PhD, FAHA Nicole R. Gonzales, MD Hector Gonzalez, PhD Marlis Gonzalez-Fernandez, MD, PhD Philip B. Gorelick, MD, MPH, FAHA Matthew Gounis, PhD Prasanthi Govindarajan, MD Manu Goyal, MD, MSc Glenn D. Graham, MD, PhD Armin J. Grau, MD, PhD Joel Greenberg, PhD, FAHA Steven M. Greenberg, MD, PhD, FAHA David M. Greer, MD, MA, FCCM James C. Grotta, MD, FAHA Jaime Grutzendler, MD Rishi Gupta, MD Andrew Gyorke, MD Mary N. Haan, MPH, DrPH Roman Haberl, MD Maree Hackett, PhD Elliot Clark Haley, MD, FAHA Hen Hallevi, MD Edith Hamel, PhD Graeme J. Hankey, MBBS, MD, FRCP, FRCP, FRACP Amer Haque, MD Richard L. Harvey, MD Don Heck, MD Cathy M. Helgason, MD Thomas Hemmen, MD, PhD Dirk M. Hermann, MD Marta Hernandez, MD Paco Herson, PhD Michael D. Hill, MD, MSc, FRCPC Nancy K. Hills, PhD, MBA Robin C. Hilsabeck, PhD, ABPP-CN Judith A. Hinchey, MD, MS, FAHA Robert G. Holloway, MD, MPH William Holloway, MD Sherril K. Hopper, RN Jonathan Hosey, MD, FAAN George Howard, DPH, FAHA Virginia J. Howard, PhD, FAHA David Huang, MD, PhD Daniel Huddle, DO Richard L. Hughes, MD, FAHA, FAAN Lynn Hundley, RN, MSN, ARNP, CCRN, CNRN, CCNS Patricia D. Hurn, PhD, FAHA Muhammad Shazam Hussain, MD, FRCPC Costantino Iadecola, MD Rebecca N. Ichord, MD M. Arfan Ikram, MD Kachi Illoh, MD Pascal Jabbour, MD Bharathi D. Jagadeesan, MD Vivek Jain, MD Dara G. Jamieson, MD, FAHA Brian T. Jankowitz, MD Edward C. Jauch, MD, MS, FAHA, FACEP David Jeck, MD Sayona John, MD Karen C. Johnston, MD, FAHA S Claiborne Johnston, MD, FAHA Jukka Jolkkonen, PhD Stephen C. Jones, PhD, SM, BSc Theresa Jones, PhD Anne Joutel, MD, PhD Tudor G. Jovin, MD Mouhammed R. Kabbani, MD Yasha Kadkhodayan, MD Mary A. Kalafut, MD, FAHA Amit Kansara, MD Moira Kapral, MD, MS Navaz P. Karanjia, MD Wendy Kartje, MD, PhD Carlos S. Kase, MD, FAHA Scott E. Kasner, MD, MS, FAHA Markku Kaste, MD, PhD, FESO, FAHA Prasad Katakam, MD, PhD Zvonimir S. Katusic, MD Irene Katzan, MD, MS, FAHA James E. Kelly, MD Michael Kelly, MD, PhD, FRCSC Peter J. Kelly, MD, MS, FRCPI, ABPN (Dip) Margaret Kelly-Hayes, EdD, RN, FAAN David M. Kent, MD Thomas A. Kent, MD Walter Kernan, MD Salomeh Keyhani, MD, MPH Alexander Khalessi, MD, MS Nadia Khan, MD, FRCPC, MSc Naim Naji Khoury, MD, MS Chelsea Kidwell, MD, FAHA Anthony Kim, MD Howard S. Kirshner, MD, FAHA Adam Kirton, MD, MSc, FRCPC Brett M. Kissela, MD Takanari Kitazono, MD, PhD Steven Kittner, MD, MPH Jeffrey Kleim, PhD Dawn Kleindorfer, MD, FAHA N. Jennifer Klinedinst, PhD, MPH, MSN, RN William Knight, MD Adam Kobayashi, MD, PhD Sebastian Koch, MD Raymond C. Koehler, PhD, FAHA Ines P. Koerner, MD, PhD Martin Köhrmann, MD Anneli Kolk, PhD, MD John B. Kostis, MD Tobias Kurth, MD, ScD Peter Kvamme, MD Eduardo Labat, MD, DABR Daniel T. Lackland, BA, DPH, FAHA Kamakshi Lakshminarayan, MD, PhD Joseph C. LaManna, PhD Catherine E. Lang, PT, PhD Maarten G. Lansberg, MD, PhD, MS Giuseppe Lanzino, MD Paul A. Lapchak, PhD, FAHA Sean Lavine, MD Ronald M. Lazar, PhD Marc Lazzaro, MD Jin-Moo Lee, MD, PhD Meng Lee, MD Ting-Yim Lee, PhD Erica Leifheit-Limson, PhD Enrique Leira, MD, FAHA Deborah Levine, MD, MPh Joshua M. Levine, MD Steven R. Levine, MD Christopher Lewandowski, MD Daniel J. Licht, MD Judith H. Lichtman, PhD, MPH David S. Liebeskind, MD, FAHA Shao-Pow Lin, MD, PhD Weili Lin, PhD Ute Lindauer, PhD Italo Linfante, MD Lynda Lisabeth, PhD, FAHA Alice Liskay, RN, BSN, MPA, CCRC Warren Lo, MD W. T. Longstreth, MD, MPH, FAHA George A. Lopez, MD, PhD David Loy, MD, PhD Andreas R. Luft, MD Helmi Lutsep, MD, FAHA William Mack, MD Mark MacKay, MBBS, FRACP Jennifer Juhl Majersik, MD Marc D. Malkoff, MD, FAHA Randolph S. Marshall, MD John H. Martin, PhD Alexander Mason, MD Masayasu Matsumoto, MD, PhD Elizabeth Mayeda, MPH William G. Mayhan, PhD Avi Mazumdar, MD Louise D. McCullough, MD, PhD Erin McDonough, MD Lisa Merck, MD, MPH James F. Meschia, MD, FAHA Steven R. Messe, MD Joseph Mettenburg, MD,PhD William Meurer, MD BA Brett C. Meyer, MD Robert Mikulik, MD, PhD James M. Milburn, MD Kazuo Minematsu, MD, PhD J Mocco, MD, MS Yousef Mohammad, MD MSc FAAN Mahendranath Moharir, MD, MSc, FRACP Carlos A. Molina, MD Joan Montaner, MD PhD Majaz Moonis, MD, MRCP Christopher J. Moran, MD Henry Moyle, MD, PhD Susanne Muehlschlegel, MD, MPH Susanne Muehlschlegel, MD, MPH Yuichi Murayama, MD Stephanie J. Murphy, VMD, PhD, DACLAM, FAHA Fadi Nahab, MD Andrew M. Naidech, MD, MPh Ashish Nanda, MD Sandra Narayanan, MD William Neil, MD Edwin Nemoto, PhD, FAHA Lauren M. Nentwich, MD Perry P. Ng, MD Al C. Ngai, PhD Andrew D. Nguyen, MD, PhD Thanh Nguyen, MD, FRCPC Mai Nguyen-Huynh, MD, MAS Raul G. Nogueira, MD Bo Norrving, MD Robin Novakovic, MD Thaddeus Nowak, PhD David Nyenhuis, PhD Michelle C. Odden, PhD Michael O'Dell, MD Christopher S. Ogilvy, MD Jamary Oliveira-Filho, MD, PhD Jean Marc Olivot, MD, PhD Brian O'Neil, MD, FACEP Bruce Ovbiagele, MD, MSc, FAHA Shahram Oveisgharan, MD Mayowa Owolabi, MBBS,MWACP,FMCP Aditya S. Pandey, MD Dhruvil J. Pandya, MD Nancy D. Papesh, BSN, RN, CFRN, EMT-B Helena Parfenova, PhD Min S. Park, MD Matthew S. Parsons, MD Aman B. Patel, MD Srinivas Peddi, MD Joanne Penko, MS, MPH Miguel A. Perez-Pinzon, PhD, FAHA Paola Pergami, MD, PhD Michael Phipps, MD Anna M. Planas, PhD Octavio Pontes-Neto, MD Shyam Prabhakaran, MD, MS Kameshwar Prasad, MD, DM, MMSc, FRCP, FAMS Charles Prestigiacomo, MD, FAANS, FACS G. Lee Pride, MD Janet Prvu Bettger, ScD, FAHA Volker Puetz, MD, PhD Svetlana Pundik, MD Terence Quinn, MD, MRCP, MBChb (hons), BSc (hons) Alejandro Rabinstein, MD Mubeen Rafay, MB.BS, FCPS, MSc Preeti Raghavan, MD Venkatakrishna Rajajee, MD Kumar Rajamani, MD Peter A. Rasmussen, MD Kumar Reddy, MD Michael J. Reding, MD Bruce R. Reed, PhD Mathew J. Reeves, BVSc, PhD, FAHA Martin Reis, MD Marc Ribo, MD, PhD David Rodriguez-Luna, MD, PhD Charles Romero, MD Jonathan Rosand, MD Gary A. Rosenberg, MD Michael Ross, MD, FACEP Natalia S. Rost, MD, MA Elliot J. Roth, MD, FAHA Christianne L. Roumie, MD, MPH Marilyn M. Rymer, MD, FAHA Ralph L. Sacco, MS, MD, FAAN, FAHA Edgar A. Samaniego, MD, MS Navdeep Sangha, BS, MD Nerses Sanossian, MD Lauren Sansing, MD, MSTR Gustavo Saposnik, MD, MSc, FAHA Eric Sauvageau, MD Jeffrey L. Saver, MD, FAHA, FAAN Sean I. Savitz, MD, FAHA Judith D. Schaechter, PhD Lee H. Schwamm, MD, FAHA Phillip Scott, MD, FAHA Magdy Selim, MD, PhD, FAHA Warren R. Selman, MD, FAHA Souvik Sen, MD, MS, MPH, FAHA Frank Sharp, MD, FAHA, FAAN George Shaw, MD, PhD Kevin N. Sheth, MD Vilaas Shetty, MD Joshua Shimony, MD, PhD Yukito Shinohara, MD, PhD Ashfaq Shuaib, MD, FAHA Lori A. Shutter, MD Cathy A. Sila, MD, FAAN Gisele S. Silva, MD Brian Silver, MD Daniel E. Singer, MD Robert Singer, MD Aneesh B. Singhal, MD Lesli Skolarus, MD Eric E. Smith, MD Sabrina E. Smith, MD, PhD Christopher Sobey, PhD, FAHA J David Spence, MD Christian Stapf, MD Joel Stein, MD Michael F. Stiefel, MD, PhD Sophia Sundararajan, MD, PhD David Tanne, MD Robert W. Tarr, MD Turgut Tatlisumak, MD, PhD, FAHA, FESO Charles H. Tegeler, MD Mohamed S. Teleb, MD Fernando Testai, MD, PhD Ajith Thomas, MD Stephen Thomas, MD, MPH Bradford B. Thompson, MD Amanda Thrift, PhD, PGDipBiostat David Tong, MD Michel Torbey, MD, MPH, FCCM, FAHA Emmanuel Touze, MD, PhD Amytis Towfighi, MD Richard J. Traystman, PhD, FAHA Margaret F. Tremwel, MD, PhD, FAHA Brian Trimble, MD Georgios Tsivgoulis, MD Tanya Turan, MD, FAHA Aquilla S. Turk, DO Michael Tymianski, MD, PhD, FRCSC Philippa Tyrrell, MB, MD, FRCP Shinichiro Uchiyama, MD, FAHA Luis Vaca, MD Renee Van Stavern, MD Susan J. Vannucci, PhD Dale Vaslow, MD, PHD Zena Vexler, PhD Barbara Vickrey, MD, MPH Ryan Viets, MD Anand Viswanathan, MD, PhD Salina Waddy, MD Kenneth R. Wagner, PhD Lawrence R. Wechsler, MD Ling Wei, MD Theodore Wein, MD, FRCPC, FAHA Babu Welch, MD David Werring, PhD Justin Whisenant, MD Christine Anne Wijman, MD, PhD Michael Wilder, MD Joshua Willey, MD, MS David Williams, MB, BAO, BCh, PhD, Dip.Med.Tox, FRCPE, FRCPI Linda Williams, MD Olajide Williams, MD, MS Dianna Willis, PhD John A. Wilson, MD, FACS Jeffrey James Wing, MPH Carolee J. Winstein, PhD, PT, FAPTA Max Wintermark, MD Charles Wira, MD Robert J. Wityk, MD, FAHA Thomas J. Wolfe, MD Lawrence Wong, MD Daniel Woo, MD, MS Clinton Wright, MD, MS Guohua Xi, MD Ying Xian, MD, PhD Dileep R. Yavagal, MD Midori A. Yenari, MD, FAHA William L. Young, MD Darin Zahuranec, MD Allyson Zazulia, MD, FAHA Adina Zeki Al Hazzouri, PhD John H. Zhang, MD, PhD Justin Zivin, MD, PhD, FAHA Richard Zorowitz, MD, FAHA Maria Cristina Zurru, MD

AWARDSSome major international children’s literature awards have just been announced as I compile the news for this issue. Several of these have Canadian connections.2016 ALSC (Association for Library Service to Children) Book & Media Award WinnersJohn Newbery Medal"Last Stop on Market Street,” written by Matt de la Peña, illustrated by Christian Robinson and published by G. P. Putnam’s Sons, an imprint of Penguin Books (USA) LLC Newbery Honor Books"The War that Saved My Life," written by Kimberly Brubaker Bradley and published by Dial Books for Young Readers, an imprint of Penguin Books (USA) LLC“Roller Girl,” written and illustrated by Victoria Jamieson and published by Dial Books for Young Readers, an imprint of Penguin Books (USA) LLC“Echo,” written by Pam Muñoz Ryan and published by Scholastic Press, an imprint of Scholastic Inc.Randolph Caldecott Medal"Finding Winnie: The True Story of the World’s Most Famous Bear," illustrated by Sophie Blackall, written by Lindsay Mattick and published by Little, Brown and Company, a division of Hachette Book Group, Inc.Caldecott Honor Books"Trombone Shorty," illustrated by Bryan Collier, written by Troy Andrews and published by Abrams Books for Young Readers, an imprint of ABRAMS“Waiting,” illustrated and written by Kevin Henkes, published by Greenwillow Books, an imprint of HarperCollins Publishers“Voice of Freedom Fannie Lou Hamer Spirit of the Civil Rights Movement,” illustrated by Ekua Holmes, written by Carole Boston Weatherford and published by Candlewick Press“Last Stop on Market Street,” illustrated by Christian Robinson, written by Matt de le Peña and published by G. P. Putnam’s Sons, an imprint of Penguin Books (USA) LLC Laura Ingalls Wilder AwardJerry Pinkney -- His award-winning works include “The Lion and the Mouse,” recipient of the Caldecott Award in 2010. In addition, Pinkney has received five Caldecott Honor Awards, five Coretta Scott King Illustrator Awards, and four Coretta Scott King Illustrator Honors. 2017 May Hill Arbuthnot Honor Lecture AwardJacqueline Woodson will deliver the 2017 May Hill Arbuthnot Honor Lecture. Woodson is the 2014 National Book Award winner for her New York Times bestselling memoir, “Brown Girl Dreaming.” Mildred L. Batchelder Award“The Wonderful Fluffy Little Squishy,” published by Enchanted Lion Books, written and illustrated by Beatrice Alemagna, and translated from the French by Claudia Zoe BedrickBatchelder Honor Books“Adam and Thomas,” published by Seven Stories Press, written by Aharon Appelfeld, iIllustrated by Philippe Dumas and translated from the Hebrew by Jeffrey M. Green“Grandma Lives in a Perfume Village,” published by NorthSouth Books, an imprint of Nordsüd Verlag AG, written by Fang Suzhen, iIllustrated by Sonja Danowski and translated from the Chinese by Huang Xiumin“Written and Drawn by Henrietta,” published by TOON Books, an imprint of RAW Junior, LLC and written, illustrated, and translated from the Spanish by Liniers.Pura Belpre (Author) Award“Enchanted Air: Two Cultures, Two Wings: A Memoir," written by Margarita Engle and published by Atheneum Books for Young Readers, an imprint of Simon & Schuster Children’s Publishing DivisionBelpre (Author) Honor Books"The Smoking Mirror," written by David Bowles and published by IFWG Publishing, Inc."Mango, Abuela, and Me," written by Meg Medina, illustrated by Angela Dominguez and published by Candlewick PressPura Belpre (Illustrator) Award"The Drum Dream Girl," illustrated by Rafael López, written by Margarita Engle and published by Houghton Mifflin HarcourtBelpre (Illustrator) Honor Books"My Tata’s Remedies = Los remedios de mi tata,” iIllustrated by Antonio Castro L., written by Roni Capin Rivera-Ashford and published by Cinco Puntos Press“Mango, Abuela, and Me,” illustrated by Angela Dominguez, written by Meg Medina and published by Candlewick Press“Funny Bones: Posada and His Day of the Dead Calaveras,” illustrated and written by Duncan Tonatiuh and published by Abrams Books for Young Readers, an imprint of ABRAMSAndrew Carnegie Medal "That Is NOT a Good Idea," produced by Weston Woods Studios, Inc.Theodor Seuss Geisel Award"Don’t Throw It to Mo!" written by David A. Adler, illustrated by Sam Ricks and published by Penguin Young Readers, and imprint of Penguin Group (USA), LLCGeisel Honor Books "A Pig, a Fox, and a Box," written and illustrated by Jonathan Fenske and published by Penguin Young Readers, an Imprint of Penguin Group (USA) LLC"Supertruck," written and illustrated by Stephen Savage and published by A Neal Porter Book published by Roaring Brook Press, a division of Holtzbrinck Publishing Holdings Limited Partnership"Waiting," written and illustrated by Kevin Henkes and published by Greenwillow Books, an imprint of HarperCollins Publishers.Odyssey Award"The War that Saved My Life," produced by Listening Library, an imprint of the Penguin Random House Audio Publishing Group, written by Kimberly Brubaker Bradley and narrated by Jayne EntwistleOdyssey Honor Audiobook"Echo," produced by Scholastic Audio / Paul R. Gagne, written by Pam Munoz Ryan and narrated by Mark Bramhall, David De Vries, MacLeod Andrews and Rebecca SolerRobert F. Sibert Informational Book Medal"Funny Bones: Posada and His Day of the Dead Calaveras,” written and illustrated by Duncan Tonatiuh and published by Abrams Books for Young Readers, an imprint of ABRAMSSibert Honor Books"Drowned City: Hurricane Katrina and New Orleans," written and illustrated by Don Brown and published by Houghton Mifflin Harcourt"The Boys Who Challenged Hitler: Knud Pedersen and the Churchill Club," by Phillip Hoose and published by Farrar Straus Giroux Books for Young Readers"Turning 15 on the Road to Freedom: My Story of the 1965 Selma Voting Rights March," written by Lynda Blackmon Lowery as told to Elspeth Leacock and Susan Buckley, illustrated by PJ Loughran and published by Dial Books, an imprint of Penguin Group (USA) LLC"Voice of Freedom: Fannie Lou Hamer, Spirit of the Civil Rights Movement," written by Carole Boston Weatherford, illustrated by Ekua Holmes and published by Candlewick PressCONFERENCES & EVENTSThis 2016 is shaping up to be a busy year for those of us involved with Canadian children’s literature. To tantalize your appetite (and encourage you to get involved) here are some highlights:January:Vancouver Children’s Literature Roundtable event: A Celebration of BC’s Award Children’s Authors and Illustrators with special guests Rachel Hartman and the Children’s Literature Roundtables of Canada 2015 Information Book Award winners Margriet Ruurs & Katherine Gibson, January 27, 2016, 7 – 9 pm. Creekside Community Centre, 1 Athletes Way, Vancouver. Free to members and students.April:Wordpower programs from the Young Alberta Book Society feature teams of Albertan children’s literary artists touring to schools in rural areas. Thanks to the generous sponsorship of Cenovus Energy, schools unable to book artist visits due to prohibitive travel costs are able to participate.April 4-8: Wordpower South will send 8 artist teams to communities roughly between Drumheller and Medicine Hat. Artists include Karen Bass, Lorna Shultz-Nicholson, Bethany Ellis, Marty Chan, Mary Hays, Sigmund Brouwer, Carolyn Fisher, Natasha DeenApril 25-29: Wordpower North will have a team of 8 artists traveling among communities in north-eastern Alberta such as Fort MacKay, Conklin, Wabasca, Lac La Biche, Cold Lake, and Bonnyville. The artists include Kathy Jessup, Lois Donovan, Deborah Miller, David Poulsen, Gail de Vos, Karen Spafford-Fitz, Hazel Hutchins, Georgia Graham May: COMICS AND CONTEMPORARY LITERACY: May 2, 2016; 8:30am - 4:30pm at the Rozsa Centre, University of Calgary. This is a one day conference featuring presentations and a workshop by leading authors, scholars, and illustrators from the world of comics and graphic novels. This conference is the 5th in the annual 'Linguistic Diversity and Language Policy' series sponsored by the Chair, English as an Additional Language, Werklund School of Education, University of Calgary. Tom Ricento is the current Chair-holder. The conference is free and lunch is provided. Seating is limited, so register early. The four presenters are:Jillian Tamaki, illustrator for This One Summer, and winner of the Governor General's Award for children's illustration.Richard van Camp, best-selling author of The Lesser Blessed and Three Feathers, and member of the Dogrib Nation.Dr. Nick Sousanis, post-doctoral scholar, teacher and creator of the philosophical comic Unflattening.Dr. Bart Beaty, University of Calgary professor, acclaimed comics scholar and author of Comics vs. Art TD Canadian Children’s Book Week 2016. In 2016, the Canadian Children's Book Centre celebrates 40 years of bringing great Canadian children's books to young readers across the country and the annual TD Canadian Children’s Book Week will be occurring this May across Canada. The theme this year is the celebration of these 40 years of great books written, illustrated and published in Canada as well as stories that have been told over the years. The 2016 tour of storytellers, authors and illustrators and their area of travel are as follows:Alberta: Bob Graham, storyteller; Kate Jaimet, authorBritish Columbia (Interior region) Lisa Dalrymple, author; (Lower Mainland region) Graham Ross, illustrator; (Vancouver Island region) Wesley King, author; (Northern region, Rebecca Bender, author & illustrator.Manitoba: Angela Misri, author; Allison Van Diepen, authorNew Brunswick: Mary Ann Lippiatt, storytellerNewfoundland: Maureen Fergus, authorLabrador: Sharon Jennings, authorNorthwest Territories: Geneviève Després, illustratorNova Scotia: Judith Graves, authorNunavut: Gabrielle Grimard, illustratorOntario: Karen Autio, author; Marty Chan, author; Danika Dinsmore, author; Kallie George, author; Doretta Groenendyk, author & illustrator; Alison Hughes, author; Margriet Ruurs, author.Prince Edward Island: Wallace Edwards, author & illustratorQuebec (English-language tour): LM Falcone, author; Simon Rose, author; Kean Soo, author & illustrator; Robin Stevenson, author; and Tiffany Stone, author/poet.Saskatchewan: (Saskatoon and northern area) Donna Dudinsky, storyteller; (Moose Jaw/Regina and southern area) Sarah Ellis, authorYukon: Vicki Grant, author-----Gail de Vos is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and comic books & graphic novels at the School of Library and Information Studies (SLIS) at the University of Alberta. She is the author of nine books on storytelling and folklore. Gail is also a professional storyteller who has taught the storytelling course at SLIS for over two decades.

Errol Morris’s Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. is a documentary made in 1999 that focuses on a designer of execution equipment, Fred A. Leuchter, Jr. It is notable that when filming Mr. Death—specifically, in interviews with Leuchter—Morris used a self-designed system that he calls the Interrotron (a combination of the words “interview” and “terror”). My primary interest lies in how apparatuses—the execution equipment that Leuchter designs, the Interrotron that Morris uses to film Leuchter, and cinema—come to function prosthetically. I argue that the apparatus as a prosthetic extension of the body operates socially, spatially, and temporally. The operation of the apparatus—execution equipment and cinematic apparatus—implies a relation of responsibility between bodies. The apparatus works spatially by instituting relations of connection and distance on a physical level between executioner, electric chair, and criminal, as well as filmmaker, camera apparatus, and interviewee. The specificity of the temporality of the apparatus is evidenced in its promotion of death (execution equipment) and the assistance it gives to our efforts to understand our very own relationship to death as spectators of film (cinematic apparatus). I contend that it is not only that the apparatus operates as a prosthesis in the production of cinema, but that cinema itself is a prosthesis of film spectatorship.The social, spatial, and temporal extension that the cinematic apparatus affords the body is that of a “supplement” (Stiegler 245). The character/subject is a component in the cinematic arrangement made extensive through “supplements”. However, the Interrotron as a prosthesis, acts as an extension of the body, but one by which the camera or the projected film are not positions that we may identify. My primary interest is the position of the character/subject within the apparatus and how the apparatus comes to function prosthetically. Although here, what I am also concerned with is how the symbolic features of the apparatus work through the fictional narratives of the subject’s life and thus play a formative role in the subject’s perception of him/herself. Fred A. Leuchter, Jr. and the Electric ChairThe character at the centre of Morris’s Mr. Death is Fred A. Leuchter, Jr. (a.k.a. Mr. Death), a self-taught engineer from Massachusetts who designs and builds electric chairs, lethal-injection equipment, gallows, and gas chambers. The narrative of the film follows the progress of his business as he is commissioned to work on each type of execution device. However, his career is put in question after being assigned by Ernst Zündel, Holocaust Revisionist and author of the pamphlet “Did Six Million Really Die?” to determine whether the buildings in Auschwitz were used to house gas executions. This assignment leads Leuchter to write “The Leuchter Report”: a document that denounces the existence of the gas chambers, given the lack of evidence of exhaust equipment, gasket seals, and hydrogen-cyanide residue in the brickwork (tested from bricks taken illegally from the site). Although this latter evidence is the defining point of the report, it is proven insubstantial by James Roth, the chemist commissioned to analyse the brick samples. It is the folly of Leuchter’s pursuit of the investigation that marks the irony of what he believes to be the crowning achievement of his career, which instead leads to the demise of it. Leuchter’s career demise notwithstanding, the impending subject of my investigation of Mr. Death is the relationship he has with the electric chair that he designed for Tennessee’s state prison. The history of electricity seems to find its place amongst the many inventions of the nineteenth-century. This history also displays a fascination with both its life and death giving qualities. While Mary Shelley’s Frankenstein; or, The Modern Prometheus (1818) is testimony to literature’s curiosity about electricity, others were quick to speculate on the social and scientific benefits that might be gained from its possible life-giving qualities. In 1892, an article in The Fortnightly Review suggested that electricity could “accelerate the growth of crops”, and in 1912, Svante Arrhenius tested the likelihood of it having the same effect on children (Kern 114).Death by electricity also seemed to fascinate. In fact, electricity was quite rapidly employed for execution. The electric chair was first used in a New York prison in 1890, a practice that proved to horrify the public—“the New York Times wrote that it had been a “revolting spectacle”, “far worse than hanging” (Kern 115). The Edison Company made an actuality film in 1903 at Luna Park, Coney Island called Electrocuting an Elephant (shown in Mr. Death) that attests to the spectacle or “attraction” that electricity must have been at this time. Fred demonstrates his own fascination with this double quality of electricity when he proclaims:There is no difference in a life support system and an execution system… With a life support system if it doesn’t function the person dies. With an execution system if it doesn’t function flawlessly the person lives.There is something banal in this comparison in the way it positions the human body in relation to the machine as though dependent on it, or, in the way it attests to a power that the machine has over life and death, and moreover the way it passes over the distinction between life and death. The lack of difference between the machines that attest to these respective practices is manifest in such indifference to their outcomes. Morris, with regard to this indifference, says:Fred […] seems possessed by this notion of a “painless execution.” I’m using Fred’s words. But exactly what is he talking about: “the perfect execution that just feels delightful”? I think he misses the point. The real pain of execution is in the knowledge that you are to die, in that realization that we’re mortal and that some date has been fixed for our extinction, for the termination of our lives. And it’s that implacable fact which he conveniently forgets. There can be no “painless execution” when you know that death is approaching. (Ryan)I argue that the prosthetic relation of the apparatus to the title character occurs on both a physical and psychical level, but question whether the subject’s apparatus represents them adequately. This question of representation is assessed by the film techniques Errol Morris employs in Mr. Death. What interests Morris about Leuchter beyond his involvement with killing machines, beyond the fact that he is a designer of death equipment, is Leuchter’s self-deception. But also the way in which this is revealed by Leuchter himself as he speaks to the camera. It is what Leuchter shows us of himself, the position he places himself in relation to us (or perhaps, more particularly, the camera) that is fascinating. As Morris says:Mr. Death has the far more interesting thesis that any man can think he’s a hero. Because Fred, in fact, does think he is a truly heroic character. He thinks he’s a Florence Nightingale figure, a champion of civil liberties, a defender of the underdog, a Galileo-like scientist who’s willing to go against the crowd and to espouse unpopular beliefs because he deeply believes they’re right. A humanitarian, a humanist. I mean, it’s a whole catalogue of virtue but what’s so appalling and, at the same time, sad and ludicrous about his story is that it’s wrong. (Ryan)What is revealed in this film then, is not only our relationship with our apparatuses, and the way in which they place us in turn in relation to people, but also how apparatuses play a formative role in people’s perception of themselves. The fact that a certain type of apparatus may exemplify a perception that people wish to have of themselves or their society is what Lisa Gitelman examines in the suggestions for possible inventions that made their way into letters to Thomas A. Edison. One man wrote in 1915: “My mind has been impressed for some time with the idea of a clock that would speak the time” (82). And yet, a phonograph-clock had already been invented and placed on the market in Europe several years earlier. Edison himself had the idea as early as November 1877. As Gitelman writes of the phonograph-clock idea: “The continued recurrence of the phonograph-clock as a ‘new’ idea confirms that the cultural saturation of technological knowledge was a matter of preconscious as well as conscious mentality. That is, many people came up with the same thing at the same time because the idea of the phonograph-clock percolated within the ambient culture” (83). The question is not only how apparatuses exist within the preconscious and consciousness as a cultural entity, but also, how a talking-clock acts as a mechanical extension of the human subject. As Gitelman writes: “The very idea of a “talking machine” seemed impossible, the term an oxymoron. It denoted a contradictory combination of biological and mechanical function, a nineteenth-century cyborg” (84). For Leuchter then, the question is: what is it that the execution apparatus says about him? Errol Morris and the InterrotronIt is also the device by which Leuchter reveals his opinions that in important. When filming Mr. Death, Morris used the Interrotron. The Interrotron is made up of a two-way camera set-up linked to teleprompters that at once project the image of Morris’s face to Leuchter and similarly, the image of Leuchter’s face to Morris. Behind the teleprompters (or more precisely, behind a two-way mirror that reflects the image of the teleprompter towards each person) are cameras, each fitted with a fixed lens. The result is that, rather than having the conversation taking place off to the side of the camera, both interviewer and interviewee can look directly at each other down the central axis of the camera lens (Rosenheim 221). As Leuchter speaks to the projected image (mirror) of Morris, the film camera behind the mirror gains direct eye contact with him and films him in this way. Conversely, a video camera films Morris’s face, an image which is directed to Leuchter through the teleprompter to the mirror facing him.The Interrotron does generate, Morris claims, better documentary techniques, not only because of the startling intensification of on-camera interviews and the feeling that is generated by the interviewee staring down the lens at interviewer and also the spectator. It also produces more information from the subject, evidenced by the fact that Leuchter spoke for twelve uninterrupted hours to the interview machine. Despite Leuchter’s ability for monologue, it does not seem that Leuchter knows himself any better. In fact, his delusion is one that is propagated by speaking for twelve hours to someone, to the world. However, it seems that Leuchter will never know his own delusion. The effect of the Interrotron on Leuchter is that it produces a projection/image that will listen with no interruptions. Precisely because, in the end, the projections reflect back the image of the person talking, it is all about Leuchter, rather than who he is talking to. As Morris says:I think we are all protected from the world by fantasy. We all see ourselves as being protagonists in a private drama of our own construction. I don’t think that any of us are immune from that sort of thing, I think it’s the human condition. It is really just trying to capture some of that, that is what interests me.A key idea that is presented by Leuchter in Mr. Death is the spatial distance between executioner and executee—even as there is connection between machine and victim—that tends towards anonymity. As Leuchter says in describing the way in which he became involved in designing a lethal-injection machine:They determined that there should be some kind of a machine that could repetitively deliver the necessary chemicals at the proper time intervals for all executions. This completely took the human factor out of it.This gives us some idea of the way in which machines tend to determine a distance, or anonymity, to the killing process. A characteristic of the spectator’s relationship to cinema is anonymity, however, it is an anonymity that, along with the “mass characteristics” of cinema and our “solitude in darkness”, creates a kind of “public intimacy” (Moore 5). For the electric chair, the electric current requires the connecting contact of the machine at the same time that this death-giving apparatus affords human distance. The machine provides for a sense of morality in which we view killing as a rational process conducted through technologies. It means that political systems or individuals are not held responsible for these deaths; it is rather as if the machine itself is responsible. Furthermore, it seems the necessity is to make the machine responsible so that the connecting human forces such as the creator of the electric chair, or perhaps even the person who “presses the button”, are free of responsibility. This question of responsibility is ironic in light of the fact that Leuchter has never himself witnessed an execution. Always at a distance, he relinquishes the machine from sight before it performs its prosecution.What is most important about spatial distance in Mr. Death is the way in which Morris uses the Interrotron to gain a sense of direct human contact from Leuchter. Morris’s interview machine is a mechanism that at the same time generates a distance (the objectifiable camera), but also allows for a human to human relationship through the camera rather than with the camera as a third party. Consequently, when Walter Benjamin says that, in the case of the audience of film, “the audience’s identification with the actor is really an identification with the camera”, or in the case of the actor, “what matters is that the part is acted not for an audience but for a mechanical contrivance”, this is what the Interrotron negates (228–29). The relationship that the audience has is a first-person relationship, where the camera acts as an extension of the human—a prosthesis—and not its own position to identify. Despite the human connection that the Interrotron produces in the absence of the identification with a mechanical device, the audience is never morally implicated because of the spatial and temporal singularity of film.The Interrotron generates a better human connection to the spectator where Morris becomes a stand-in for the real film spectator. It is through the eyes (in the look) that connection is guaranteed in the case of the Interrotron, just as in cinema. The Interrotron presents us with the closest thing to a two-way communication when Morris’s eyes become the spectators’ eyes; Morris’s eyes act as a prosthesis of the spectator’s eyes through the device of the Interrotron. Indeed, Linda Williams asks of the direct eye contact that the Interrotron allows for: “Does testimony that exhibits a lack of blinking and constant, direct eye contact equate with truth? The Interrotron might seem to invite such a judgement, but the ‘truth’ is not so guaranteed” (37). In fact, the “truth” that we discover is Leuchter’s own self-deception. Cinema as Prosthesis: Temporal Extension as a “Supplement” In relation to Mr. Death, the prosthesis as an extension of the self suggests a complexity that emerges when Leuchter describes his relationship to the electric chair: And so the legend grew that prison officials shouldn’t allow their children to sit in the electric chair. I kind of sat in the chair waiting for something to happen, but some twenty years later I wound up making execution equipment, instead of being the person that the execution equipment was used on […] Maybe we created a new legend and some good came out of it after all.The apparatus metaphorically generates death for Leuchter—he subjects himself to his own apparatus, metaphorically dies and “create[s] a legend”. And yet, Morris says:Fred Leuchter’s story seems very much caught up in a denial of death, some crazy denial that death in fact even exists. After all, the movie ends with his story about how he sat in the chair and defeated the legend attached to it: namely, that, if you sit in the chair, you will subsequently die in the chair. And the story and his pride in the fact that he (quote, unquote) “created a new legend”—he didn’t die in the chair but went on to design and manufacture electric chairs—seems to me (to be) Fred boasting in some deep way about how he has defeated death itself. It seems, if you like, the final delusion. (Ryan)This leaves an interesting question of what is generated by the mechanical cinematic apparatus for the spectator. Cinema is a way to understand our very own relationship to death as spectators of film. Such a relationship to death is dependent upon the “presence” of the mechanical apparatus. Benjamin writes:What matters is that the part is acted not for an audience but for a mechanical contrivance—in the case of the sound film, for two of them. […] This situation might also be characterized as follows: for the first time—and this is the effect of the film—man has to operate with his whole living person, yet forgoing its aura. For aura is tied to his presence; there can be no replica of it. (229)However, cinema is not simply the presence of the camera, but the possibility that a past moment in time—a past present—be brought into presence by the film projector. The camera and the projector are prostheses, allowing for a living person in a past present to be brought into an audience’s presence. Death is the “supplement” that these apparatuses afford. Morris’s Interrotron is an extension of this arrangement, while Leuchter’s electric chair is exemplary. ReferencesA Brief History of Errol Morris. Dir. Kevin Macdonald. Independent Film Channel, 2000. Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” Illuminations. Ed. Hannah Arendt. New York: Schocken, 1969. 217–51.Gitelman, Lisa. Scripts, Grooves and Writing Machines: Representing Technology in the Edison Era. Stanford: Stanford UP, 1999.Kern, Stephen. “Speed.” The Culture of Time and Space, 1880–1918. Cambridge: Harvard UP, 1983. 109–30.Moore, Rachel O. Savage Theory: Cinema as Modern Magic. Durham: Duke UP, 2000. Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. Dir. Errol Morris. Lions Gate, 1999.Rosenheim, Shawn. “Interrotroning History: Errol Morris and the Documentary of the Future.” The Persistence of History: Cinema, Television and the Modern Event. Ed. Vivian Sobchack. New York: Routledge, 1996. 219–34.Ryan, Tom. “Errol Morris.” Senses of Cinema 16 (Sep. 2001). 3 July 2019 <http://sensesofcinema.com/2001/feature-articles/morris/>.Stiegler, Bernard. “Derrida and Technology: Fidelity at the Limits of Deconstruction and the Prosthesis of Faith.” Jacques Derrida and the Humanities: A Critical Reader. Ed. Tom Cohen. Cambridge: Cambridge UP, 2001. 238–70.Williams, Linda. “Cluster Fuck: The Forcible Frame in Errol Morris’s Standard Operating Procedure.” Camera Obscura 73.25.1 (2010): 29–67.

Considering a sociocultural perspective, the role of language in the teaching and learning process in Chemistry goes beyond a simple vehicle for the transfer of information, such as names of substances, laboratory glassware and formulas. This new reading of the role of language in the process of teaching and learning is anchored in Vygostsky's studies, which emphasizes the importance of the social and cultural nature of mental activities. The Tomasello's ideas can clarify the discussion about cultural processes at the origin of language acquisition. For this discussion, in the form of a theoretical essay, from contemporary readings of these authors, some approximations between their ideas are established, highlighting some implications on language in the teaching and learning process in Chemistry, such as: i) students need to participate in their own acquisition of the scientific language; (ii) this acquisition is not through memorization, but through problematization, and (iii) teachers must recognize how students are perceiving that language and not simply consider it as already acquired. However, this debate on the new role of language must be investigated by researchers in the field, since in addition to the difficulties pointed out in this essay, the nominalization process and the grammatical metaphor, for example, are important sources of difficulties found in the acquisition of scientific language.Resumo A partir de uma perspectiva sociocultural, o papel da linguagem no processo de ensino e aprendizagem em Química ultrapassa a característica de um simples veículo para a transferência de informações, como por exemplo, nomes de substâncias, vidrarias de laboratório e fórmulas. Neste contexto, o papel da linguagem no processo de ensino e aprendizagem baseado nos estudos de Vigostski ressalta a importância da natureza social e cultural das atividades mentais. E, a inserção das ideias de Tomasello enriquece a discussão dos processos culturais no desenvolvimento da aquisição da linguagem. Para essa discussão, em forma de ensaio teórico, a partir de leituras contemporâneas desses autores, são estabelecidas algumas aproximações entre suas ideias. A apresentação dessas semelhanças permite clarear o entendimento dos professores acerca do novo papel da linguagem, além de enfatizar implicações importantes relacionadas ao processo de ensino e aprendizagem em Química, tais como: i) os estudantes precisam participar de sua própria aquisição da linguagem científica; ii) essa aquisição pode ser mais efetiva pela problematização, e não pela memorização e, iii) os professores devem reconhecer como os estudantes estão percebendo essa linguagem, e não, simplesmente, considerá-la como já adquirida. No entanto, esse debate sobre o novo papel da linguagem deve seguir adiante pelos pesquisadores da área, visto que, além das dificuldades apontadas neste ensaio, há de se considerar que, o processo de nominalização e a metáfora gramatical, por exemplo, são fontes importantes de dificuldades para a aquisição da linguagem científica.ResumenDesde de una perspectiva sociocultural, el papel del lenguaje en el proceso de enseñanza y aprendizaje en Química excede la característica de un vehículo para la transferencia de informaciones, como por ejemplo nombres de sustancias, vidriería de laboratorio y fórmulas. En este contexto, el papel del lenguaje en el proceso de enseñanza y aprendizaje se ancla en los estudios de Vygostsky, que resalta la importancia de la naturaleza social y cultural de las actividades mentales. Y la inserción de las ideas de Tomasello enriquece la discusión de los procesos culturales en el desarrollo de la adquisición del lenguaje. Para esta discusión, en forma de ensayo teórico, a partir de lecturas contemporáneas de esos autores, se establecen algunas aproximaciones entre sus ideas. La presentación de estas semejanzas permite clarificar el entendimiento de los profesores acerca del nuevo papel del lenguaje, además de enfatizar implicaciones importantes relacionadas al proceso de enseñanza y aprendizaje en Química, tales como: i) los estudiantes necesitan participar de su propia adquisición del lenguaje científico; ii) esa adquisición puede ser más efectiva por la problematización, no por la memorización y, iii) los profesores deben reconocer cómo los estudiantes están percibiendo ese lenguaje, y no, simplemente, considerarla como ya adquirida. Sin embargo, este debate sobre el nuevo papel del lenguaje debe seguir adelante por investigadores del área de Educación, ya que, además de las dificultades señaladas en este ensayo, hay que considerar que el proceso de nominalización y la metáfora gramatical, por ejemplo, son fuentes importantes de dificultades para la adquisición del lenguaje científico.Keywords: Sociocultural perspective, Chemistry Education, Language.Palabras clave: Perspectiva sociocultural, Educación Química, Lenguaje.Palavras-chave: Abordagem sociocultural, Educação em Química, Linguagem.ReferencesÁLLAN, S.; Souza, C. B. A. O modelo de Tomasello sobre a evolução cognitivo-linguística humana. Psicologia: Teoria e Pesquisa, v. 25, n. 2, p. 161-168, 2009.CHILDS, P. E.; MARKIC, S.; RYAN, M. C. The role of language in the teaching and learning of Chemistry. In: GARCÍA-MARTÍNEZ, J.; SERRANO-TORREGROSA, E. (Eds.). Chemistry Education: Best Practices, Opportunities and Trends. Weinheim: Wiley-VCH Verlag GmbH & Co, 2015. Cap. 17. p. 421-445.DRIVER, R.; ASOKO, H.; LEACH, J.; MORTIMER, E.; Scott, P. Constructing scientific knowledge in the classroom. Educational Researcher, v. 23, n. 7, p. 5-12, 1994.HALLIDAY, M.A.K. Some grammatical problems in scientific English. In: Halliday, M. A. K.; MARTIN, J. R. Writing science. London: Falmer Press, 1993.HODSON, D. Teaching and learning science: towards a personalized approach. Berkshire, UK: Open University Press, 1998.JACOB, C. Interdependent operations in chemical language and practice. HYLE–International Journal for Philosophy of Chemistry, v. 7, n. 1, p. 31-50, 2001.KOKKOTAS, Panagiotis V.; RIZAKI, Aikaterini A. Does history of science contribute to the construction of knowledge in the constructivist environments of learning? In: KOKKOTAS, Panagiotis V.; MALAMITZA, Katerina S.; RIZAKI, Aikaterini A. (Eds.). Adapting historical knowledge production to the classroom. Rotterdam: Sense Publishers, 2011. Cap. 5, p. 61-84.LABINGER, Jay A.; WEININGER, Stephen J. Controversy in chemistry: how do you prove a negative? – The cases of Phlogiston and Cold Fusion. Angewandte Chemie International Edition, v. 44, p. 1916-1922, 2005.MARKIC, S.; CHILDS, P. E. How to deal with linguistic issues in chemistry classes. In: Eilks, I.; Hofstein, A. (Eds). Teaching chemistry: a study book. Rotterdam: Sense Publishers, 2013. Cap. 5. p 127-152.MARKIC, S.; CHILDS, P. E. Language and teaching and learning of chemistry. Chemistry Education Research and Practice, v. 17, p. 434-438, 2016.MORTIMER, E. F. Construtivismo, mudança conceitual e ensino de Ciências: para onde vamos? Investigações em Ensino de Ciências, v. 1, n. 1, p. 20-39, 1996.MORTIMER, E. F.; SCOTT, P. Atividade discursiva nas salas de aula de Ciências: uma ferramenta sociocultural para analisar e planejar o ensino. Investigações em Ensino de Ciências, v .7, n. 3, p. 283-306, 2002.MORTIMER, E. F. Linguagem e formação de conceitos no ensino de Ciências. Belo Horizonte: Editora UFMG, 2011. 373 p.MORTIMER, E. F.; SCOTT, p.; EL-HANI, C. N. Bases teóricas e epistemológicas da abordagem dos perfis conceituais. Tecné, Episteme y Didaxis, n. 30, p. 111-125, 2011.MORTIMER, E. F.; EL-HANI, C. N. Uma visão sócio-interacionista e situada dos conceitos e a internalização em Vygotsky. In: IX ENCONTRO NACIONAL DE PESQUISA EM EDUCAÇÃO EM CIÊNCIAS, 2013, Águas de Lindóia. Anais... São Paulo: IX ENPEC, 2013. p. 1-9.PEREIRA, A. P. Distribuição conceitual no Ensino de Física Quântica: uma aproximação sociocultural às teorias de mudança conceitual. 2012. 210f. Tese (Doutorado em Ensino de Física) – Instituto de Física, Universidade Federal do Rio Grande do Sul, Porto Alegre, Rio Grande do Sul, 2012.TABER, K. S. Exploring the language(s) of chemistry education. Chemistry Education Research and Practice, v. 16, p. 193-197, 2015.TOMASELLO, M. Origens culturais da aquisição do conhecimento humano. Martins Fontes: São Paulo, 2003.VIGOTSKI, L. S. A formação social da mente: o desenvolvimento dos processos psicológicos superiores. 5. ed. São Paulo: Martins Fontes, 1994.VYGOTSKY, L. S. The genesis of higher mental functions. In: WERTSCH, J. V. (Ed.). The concept of activity in Soviet psychology, Armonk, NY: Sharpe, 1931/1981. p. 144-188.WELLS, G. Learning and teaching “scientific concepts”: Vygotsky’s ideas revisited. Conference, “Vygotsky and the Human Sciences”, Moscow, Sept. 1994.WERTSCH, J. V. Vygotsky y la formacion social de la mente. Barcelona: Ediciones Paidós, 1988.WOCH, J. The language of chemistry: A study of English chemical vocabulary. Beyond Philology, v. 12, p. 77-108, 2015.

Introduction Many destinations promote culinary encounters. Foods and beverages, and especially how these will taste in situ, are being marketed as niche travel motivators and used in destination brand building across the globe. While initial usage of the term culinary tourism focused on experiencing exotic cultures of foreign destinations by sampling unfamiliar food and drinks, the term has expanded to embrace a range of leisure travel experiences where the aim is to locate and taste local specialities as part of a pleasurable, and hopefully notable, culinary encounter (Wolf). Long’s foundational work was central in developing the idea of culinary tourism as an active endeavor, suggesting that via consumption, individuals construct unique experiences. Ignatov and Smith’s literature review-inspired definition confirms the nature of activity as participatory, and adds consuming food production skills—from observing agriculture and local processors to visiting food markets and attending cooking schools—to culinary purchases. Despite importing almost all of its foodstuffs and beverages, including some of its water, Singapore is an acknowledged global leader in culinary tourism. Horng and Tsai note that culinary tourism conceptually implies that a transferal of “local or special knowledge and information that represent local culture and identities” (41) occurs via these experiences. This article adds the act of reading to these participatory activities and suggests that, because food writing forms an important component of Singapore’s suite of culinary tourism offerings, taste contributes to the cultural experience offered to both visitors and locals. While Singapore foodways have attracted significant scholarship (see, for instance, work by Bishop; Duruz; Huat & Rajah; Tarulevicz, Eating), Singapore food writing, like many artefacts of popular culture, has attracted less notice. Yet, this writing is an increasingly visible component of cultural production of, and about, Singapore, and performs a range of functions for locals, tourists and visitors before they arrive. Although many languages are spoken in Singapore, English is the national language (Alsagoff) and this study focuses on food writing in English. Background Tourism comprises a major part of Singapore’s economy, with recent figures detailing that food and beverage sales contribute over 10 per cent of this revenue, with spend on culinary tours and cookery classes, home wares such as tea-sets and cookbooks, food magazines and food memoirs additional to this (Singapore Government). This may be related to the fact that Singapore not only promotes food as a tourist attraction, but also actively promotes itself as an exceptional culinary destination. The Singapore Tourism Board (STB) includes food in its general information brochures and websites, and its print, television and cinema commercials (Huat and Rajah). It also mounts information-rich campaigns both abroad and inside Singapore. The 2007 ‘Singapore Seasons’ campaign, for instance, promoted Singaporean cuisine alongside films, design, books and other cultural products in London, New York and Beijing. Touring cities identified as key tourist markets in 2011, the ‘Singapore Takeout’ pop-up restaurant brought the taste of Singaporean foods into closer focus. Singaporean chefs worked with high profile locals in its kitchen in a custom-fabricated shipping container to create and demonstrate Singaporean dishes, attracting public and media interest. In country, the STB similarly actively promotes the tastes of Singaporean foods, hosting the annual World Gourmet Summit (Chaney and Ryan) and Pacific Food Expo, both attracting international culinary professionals to work alongside local leaders. The Singapore Food Festival each July is marketed to both locals and visitors. In these ways, the STB, as well as providing events for visitors, is actively urging Singaporeans to proud of their food culture and heritage, so that each Singaporean becomes a proactive ambassador of their cuisine. Singapore Food Writing Popular print guidebooks and online guides to Singapore pay significantly more attention to Singaporean food than they do for many other destinations. Sections on food in such publications discuss at relative length the taste of Singaporean food (always delicious) as well as how varied, authentic, hygienic and suited-to-all-budgets it is. These texts also recommend hawker stalls and food courts alongside cafés and restaurants (Henderson et al.), and a range of other culinary experiences such as city and farm food tours and cookery classes. This writing describes not only what can be seen or learned during these experiences, but also what foods can be sampled, and how these might taste. This focus on taste is reflected in the printed materials that greet the in-bound tourist at the airport. On a visit in October 2013, arrival banners featuring mouth-watering images of local specialities such as chicken rice and chilli crab marked the route from arrival to immigration and baggage collection. Even advertising for a bank was illustrated with photographs of luscious-looking fruits. The free maps and guidebooks available featured food-focused tours and restaurant locations, and there were also substantial free booklets dedicated solely to discussing local delicacies and their flavours, plus recommended locations to sample them. A website and free mobile app were available that contain practical information about dishes, ingredients, cookery methods, and places to eat, as well as historical and cultural information. These resources are also freely distributed to many hotels and popular tourist destinations. Alongside organising food walks, bus tours and cookery classes, the STB also recommends the work of a number of Singaporean food writers—principally prominent Singapore food bloggers, reviewers and a number of memoirists—as authentic guides to what are described as unique Singaporean flavours. The strategies at the heart of this promotion are linking advertising to useful information. At a number of food centres, for instance, STB information panels provide details about both specific dishes and Singapore’s food culture more generally (Henderson et al.). This focus is apparent at many tourist destinations, many of which are also popular local attractions. In historic Fort Canning Park, for instance, there is a recreation of Raffles’ experimental garden, established in 1822, where he grew the nutmeg, clove and other plants that were intended to form the foundation for spice plantations but were largely unsuccessful (Reisz). Today, information panels not only indicate the food plants’ names and how to grow them, but also their culinary and medicinal uses, recipes featuring them and the related food memories of famous Singaporeans. The Singapore Botanic Gardens similarly houses the Ginger Garden displaying several hundred species of ginger and information, and an Eco(-nomic/logical) Garden featuring many food plants and their stories. In Chinatown, panels mounted outside prominent heritage brands (often still quite small shops) add content to the shopping experience. A number of museums profile Singapore’s food culture in more depth. The National Museum of Singapore has a permanent Living History gallery that focuses on Singapore’s street food from the 1950s to 1970s. This display includes food-related artefacts, interactive aromatic displays of spices, films of dishes being made and eaten, and oral histories about food vendors, all supported by text panels and booklets. Here food is used to convey messages about the value of Singapore’s ethnic diversity and cross-cultural exchanges. Versions of some of these dishes can then be sampled in the museum café (Time Out Singapore). The Peranakan Museum—which profiles the unique hybrid culture of the descendants of the Chinese and South Indian traders who married local Malay women—shares this focus, with reconstructed kitchens and dining rooms, exhibits of cooking and eating utensils and displays on food’s ceremonial role in weddings and funerals all supported with significant textual information. The Chinatown Heritage Centre not only recreates food preparation areas as a vivid indicator of poor Chinese immigrants’ living conditions, but also houses The National Restaurant of Singapore, which translates this research directly into meals that recreate the heritage kopi tiam (traditional coffee shop) cuisine of Singapore in the 1930s, purposefully bringing taste into the service of education, as its descriptive menu states, “educationally delighting the palate” (Chinatown Heritage Centre). These museums recognise that shopping is a core tourist activity in Singapore (Chang; Yeung et al.). Their gift- and bookshops cater to the culinary tourist by featuring quality culinary products for sale (including, for instance, teapots and cups, teas, spices and traditional sweets, and other foods) many of which are accompanied by informative tags or brochures. At the centre of these curated, purchasable collections are a range written materials: culinary magazines, cookbooks, food histories and memoirs, as well as postcards and stationery printed with recipes. Food Magazines Locally produced food magazines cater to a range of readerships and serve to extend the culinary experience both in, and outside, Singapore. These include high-end gourmet, luxury lifestyle publications like venerable monthly Wine & Dine: The Art of Good Living, which, in in print for almost thirty years, targets an affluent readership (Wine & Dine). The magazine runs features on local dining, gourmet products and trends, as well as international epicurean locations and products. Beautifully illustrated recipes also feature, as the magazine declares, “we’ve recognised that sharing more recipes should be in the DNA of Wine & Dine’s editorial” (Wine & Dine). Appetite magazine, launched in 2006, targets the “new and emerging generation of gourmets—foodies with a discerning and cosmopolitan outlook, broad horizons and a insatiable appetite” (Edipresse Asia) and is reminiscent in much of its styling of New Zealand’s award-winning Cuisine magazine. Its focus is to present a fresh approach to both cooking at home and dining out, as readers are invited to “Whip up the perfect soufflé or feast with us at the finest restaurants in Singapore and around the region” (Edipresse Asia). Chefs from leading local restaurants are interviewed, and the voices of “fellow foodies and industry watchers” offer an “insider track” on food-related news: “what’s good and what’s new” (Edipresse Asia). In between these publications sits Epicure: Life’s Refinements, which features local dishes, chefs, and restaurants as well as an overseas travel section and a food memories column by a featured author. Locally available ingredients are also highlighted, such as abalone (Cheng) and an interesting range of mushrooms (Epicure). While there is a focus on an epicurean experience, this is presented slightly more casually than in Wine & Dine. Food & Travel focuses more on home cookery, but each issue also includes reviews of Singapore restaurants. The bimonthly bilingual (Chinese and English) Gourmet Living features recipes alongside a notable focus on food culture—with food history columns, restaurant reviews and profiles of celebrated chefs. An extensive range of imported international food magazines are also available, with those from nearby Malaysia and Indonesia regularly including articles on Singapore. Cookbooks These magazines all include reviews of cookery books including Singaporean examples – and some feature other food writing such as food histories, memoirs and blogs. These reviews draw attention to how many Singaporean cookbooks include a focus on food history alongside recipes. Cookery teacher Yee Soo Leong’s 1976 Singaporean Cooking was an early example of cookbook as heritage preservation. This 1976 book takes an unusual view of ‘Singaporean’ flavours. Beginning with sweet foods—Nonya/Singaporean and western cakes, biscuits, pies, pastries, bread, desserts and icings—it also focuses on both Singaporean and Western dishes. This text is also unusual as there are only 6 lines of direct authorial address in the author’s acknowledgements section. Expatriate food writer Wendy Hutton’s Singapore Food, first published in 1979, reprinted many times after and revised in 2007, has long been recognised as one of the most authoritative titles on Singapore’s food heritage. Providing an socio-historical map of Singapore’s culinary traditions, some one third of the first edition was devoted to information about Singaporean multi-cultural food history, including detailed profiles of a number of home cooks alongside its recipes. Published in 1980, Kenneth Mitchell’s A Taste of Singapore is clearly aimed at a foreign readership, noting the variety of foods available due to the racial origins of its inhabitants. The more modest, but equally educational in intent, Hawkers Flavour: A Guide to Hawkers Gourmet in Malaysia and Singapore (in its fourth printing in 1998) contains a detailed introductory essay outlining local food culture, favourite foods and drinks and times these might be served, festivals and festive foods, Indian, Indian Muslim, Chinese, Nyonya (Chinese-Malay), Malay and Halal foods and customs, followed with a selection of recipes from each. More contemporary examples of such information-rich cookbooks, such as those published in the frequently reprinted Periplus Mini Cookbook series, are sold at tourist attractions. Each of these modestly priced, 64-page, mouthwateringly illustrated booklets offer framing information, such as about a specific food culture as in the Nonya kitchen in Nonya Favourites (Boi), and explanatory glossaries of ingredients, as in Homestyle Malay Cooking (Jelani). Most recipes include a boxed paragraph detailing cookery or ingredient information that adds cultural nuance, as well as trying to describe tastes that the (obviously foreign) intended reader may not have encountered. Malaysian-born Violet Oon, who has been called the Julia Child of Singapore (Bergman), writes for both local and visiting readers. The FOOD Paper, published monthly for a decade from January 1987 was, she has stated, then “Singapore’s only monthly publication dedicated to the CSF—Certified Singapore Foodie” (Oon, Violet Oon Cooks 7). Under its auspices, Oon promoted her version of Singaporean cuisine to both locals and visitors, as well as running cookery classes and culinary events, hosting her own television cooking series on the Singapore Broadcasting Corporation, and touring internationally for the STB as a ‘Singapore Food Ambassador’ (Ahmad; Kraal). Taking this representation of flavor further, Oon has also produced a branded range of curry powders, spices, and biscuits, and set up a number of food outlets. Her first cookbook, World Peranakan Cookbook, was published in 1978. Her Singapore: 101 Meals of 1986 was commissioned by the STB, then known as the Singapore Tourist Promotion Board. Violet Oon Cooks, a compilation of recipes from The FOOD Paper, published in 1992, attracted a range of major international as well as Singaporean food sponsors, and her Timeless Recipes, published in 1997, similarly aimed to show how manufactured products could be incorporated into classic Singaporean dishes cooked at home. In 1998, Oon produced A Singapore Family Cookbook featuring 100 dishes. Many were from Nonya cuisine and her following books continued to focus on preserving heritage Singaporean recipes, as do a number of other nationally-cuisine focused collections such as Joyceline Tully and Christopher Tan’s Heritage Feasts: A Collection of Singapore Family Recipes. Sylvia Tan’s Singapore Heritage Food: Yesterday’s Recipes for Today’s Cooks, published in 2004, provides “a tentative account of Singapore’s food history” (5). It does this by mapping the various taste profiles of six thematically-arranged chronologically-overlapping sections, from the heritage of British colonialism, to the uptake of American and Russia foods in the Snackbar era of the 1960s and the use of convenience flavoring ingredients such as curry pastes, sauces, dried and frozen supermarket products from the 1970s. Other Volumes Other food-themed volumes focus on specific historical periods. Cecilia Leong-Salobir’s Food Culture in Colonial Asia: A Taste of Empire discusses the “unique hybrid” (1) cuisine of British expatriates in Singapore from 1858 to 1963. In 2009, the National Museum of Singapore produced the moving Wong Hong Suen’s Wartime Kitchen: Food and Eating in Singapore 1942–1950. This details the resilience and adaptability of both diners and cooks during the Japanese Occupation and in post-war Singapore, when shortages stimulated creativity. There is a centenary history of the Cold Storage company which shipped frozen foods all over south east Asia (Boon) and location-based studies such as Annette Tan’s Savour Chinatown: Stories Memories & Recipes. Tan interviewed hawkers, chefs and restaurant owners, working from this information to write both the book’s recipes and reflect on Chinatown’s culinary history. Food culture also features in (although it is not the main focus) more general book-length studies such as educational texts such as Chew Yen Fook’s The Magic of Singapore and Melanie Guile’s Culture in Singapore (2000). Works that navigate both spaces (of Singaporean culture more generally and its foodways) such Lily Kong’s Singapore Hawker Centres: People, Places, Food, provide an consistent narrative of food in Singapore, stressing its multicultural flavours that can be enjoyed from eateries ranging from hawker stalls to high-end restaurants that, interestingly, that agrees with that promulgated in the food writing discussed above. Food Memoirs and Blogs Many of these narratives include personal material, drawing on the author’s own food experiences and taste memories. This approach is fully developed in the food memoir, a growing sub-genre of Singapore food writing. While memoirs by expatriate Singaporeans such as Cheryl Lu-Lien Tan’s A Tiger in the Kitchen: A Memoir of Food and Family, produced by major publisher Hyperion in New York, has attracted considerable international attention, it presents a story of Singapore cuisine that agrees with such locally produced texts as television chef and food writer Terry Tan’s Stir-fried and Not Shaken: A Nostalgic Trip Down Singapore’s Memory Lane and the food memoir of the Singaporean chef credited with introducing fine Malay dining to Singapore, Aziza Ali’s Sambal Days, Kampong Cuisine, published in Singapore in 2013 with the support of the National Heritage Board. All these memoirs are currently available in Singapore in both bookshops and a number of museums and other attractions. While underscoring the historical and cultural value of these foods, all describe the unique flavours of Singaporean cuisine and its deliciousness. A number of prominent Singapore food bloggers are featured in general guidebooks and promoted by the STB as useful resources to dining out in Singapore. One of the most prominent of these is Leslie Tay, a medical doctor and “passionate foodie” (Knipp) whose awardwinning ieatŸishootŸipost is currently attracting some 90,000 unique visitors every month and has had over 20,000 million hits since its launch in 2006. An online diary of Tay’s visits to hundreds of Singaporean hawker stalls, it includes descriptions and photographs of meals consumed, creating accumulative oral culinary histories of these dishes and those who prepared them. These narratives have been reorganised and reshaped in Tay’s first book The End of Char Kway Teow and Other Hawker Mysteries, where each chapter tells the story of one particular dish, including recommended hawker stalls where it can be enjoyed. Ladyironchef.com is a popular food and travel site that began as a blog in 2007. An edited collection of reviews of eateries and travel information, many by the editor himself, the site features lists of, for example, the best cafes (LadyIronChef “Best Cafes”), eateries at the airport (LadyIronChef “Guide to Dining”), and hawker stalls (Lim). While attesting to the cultural value of these foods, many articles also discuss flavour, as in Lim’s musings on: ‘how good can chicken on rice taste? … The glistening grains of rice perfumed by fresh chicken stock and a whiff of ginger is so good you can even eat it on its own’. Conclusion Recent Singapore food publishing reflects this focus on taste. Tay’s publisher, Epigram, growing Singaporean food list includes the recently released Heritage Cookbooks Series. This highlights specialist Singaporean recipes and cookery techniques, with the stated aim of preserving tastes and foodways that continue to influence Singaporean food culture today. Volumes published to date on Peranakan, South Indian, Cantonese, Eurasian, and Teochew (from the Chaoshan region in the east of China’s Guangdong province) cuisines offer both cultural and practical guides to the quintessential dishes and flavours of each cuisine, featuring simple family dishes alongside more elaborate special occasion meals. In common with the food writing discussed above, the books in this series, although dealing with very different styles of cookery, contribute to an overall impression of the taste of Singapore food that is highly consistent and extremely persuasive. This food writing narrates that Singapore has a delicious as well as distinctive and interesting food culture that plays a significant role in Singaporean life both currently and historically. It also posits that this food culture is, at the same time, easily accessible and also worthy of detailed consideration and discussion. In this way, this food writing makes a contribution to both local and visitors’ appreciation of Singaporean food culture. References Ahmad, Nureza. “Violet Oon.” Singapore Infopedia: An Electronic Encyclopedia on Singapore’s History, Culture, People and Events (2004). 22 Nov. 2013 ‹http://infopedia.nl.sg/articles/SIP_459_2005-01-14.html?s=Violet%20Oon›.Ali, Aziza. Sambal Days, Kampong Cuisine. Singapore: Ate Ideas, 2013. Alsagoff, Lubna. “English in Singapore: Culture, capital and identity in linguistic variation”. World Englishes 29.3 (2010): 336–48.Bergman, Justin. “Restaurant Report: Violet Oon’s Kitchen in Singapore.” New York Times (13 March 2013). 21 Nov. 2013 ‹http://www.nytimes.com/2013/03/17/travel/violet-oons-kitchen-singapore-restaurant-report.html?_r=0›. Bishop, Peter. “Eating in the Contact Zone: Singapore Foodscape and Cosmopolitan Timespace.” Continuum: Journal of Media & Cultural Studies 25.5 (2011): 637–652. Boi, Lee Geok. Nonya Favourites. 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Fook, Chew Yen. The Magic of Singapore. London: New Holland, 2000. Guile, Melanie. Culture in Singapore. Port Melbourne: Heinemann/Harcourt Education Australia, 2003. Hawkers Flavour: A Guide to Hawkers Gourmet in Malaysia and Singapore. Kuala Lumpur: S. Abdul Majeed & Co., 1998. Henderson, Joan C., Ong Si Yun, Priscilla Poon, and Xu Biwei. “Hawker Centres as Tourist Attractions: The Case of Singapore.” International Journal of Hospitality Management 31.3 (2012): 849–55. Horng, Jeou-Shyan, and Chen-Tsang (Simon) Tsai. “Culinary Tourism Strategic Development: An Asia‐Pacific Perspective.” International Journal of Tourism Research 14 (2011): 40–55. Huat, Chua Beng, and Ananda Rajah. “Hybridity, Ethnicity and Food in Singapore.” Changing Chinese Foodways in Asia. Eds. David Y. H. Wu, and Chee Beng Tan. Hong Kong: The Chinese University of Hong Kong, Hong Kong, 2001: 161–98. Hutton, Wendy. Singapore Food. Singapore: Martin Cavendish, 1989/2007. Ignatov, Elena, and Stephen Smith. “Segmenting Canadian Culinary Tourists.” Current Issues in Tourism 9.3 (2006): 235–55. Jelani, Rohani. Homestyle Malay Cooking. Singapore: Periplus Editions, 2003. Knipp, Peter A. “Foreword: An Amazing Labour of Love.” The End of Char Kway Teow and Other Hawker Mysteries. Leslie Tay. Singapore: Epigram Books, 2010. viii–ix. Kong, Lily. Singapore Hawker Centres: People, Places, Food. Singapore: National Environment Agency, 2007 Kraal, David. “One and Only Violet Oon.” The Straits Times 20 January (1999). 1 Nov 2012 ‹http://www.straitstimes.com› LadyIronChef. “Best Cafes in Singapore.” ladyironchef.com (31 Mar. 2011). 21 Feb. 2014 ‹http://www.ladyironchef.com/2011/03/best-cafes-singapore› -----. “Guide to Dining at Changi Airport: 20 Places to Eat.” ladyironchef.com (10 Mar. 2014) 10 Mar. 2014 ‹http://www.ladyironchef.com/author/ladyironchef› Leong-Salobir, Cecilia. Food Culture in Colonial Asia: A Taste of Empire. Abingdon UK: Routledge, 2011. Lim, Sarah. “10 of the Best Singapore Hawker Food.” (14 Oct. 2013). 21 Feb. 2014 ‹http://www.ladyironchef.com/2013/10/best-singapore-hawker-food›. Long, Lucy M. “Culinary Tourism: A Folkloristic Perspective of Eating and Otherness.” Southern Folklore 55.2 (1998): 181–204. Mitchell, Kenneth, ed. A Taste of Singapore. Hong Kong: Four Corners Publishing Co. (Far East) Ltd. in association with South China Morning Post, 1980. Oon, Violet. World Peranakan Cookbook. Singapore: Times Periodicals, 1978. -----. Singapore: 101 Meals. Singapore: Singapore Tourist Promotion Board, 1986. -----. Violet Oon Cooks. Singapore: Ultra Violet, 1992. -----. Timeless Recipes. Singapore: International Enterprise Singapore, 1997. -----. A Singapore Family Cookbook. Singapore: Pen International, 1998. Reisz, Emma. “City as Garden: Shared Space in the Urban Botanic Gardens of Singapore and Malaysia, 1786–2000.” Postcolonial Urbanism: Southeast Asian Cities and Global Processes. Eds. Ryan Bishop, John Phillips, and Yeo Wei Wei. New York: Routledge, 2003: 123–48. Singapore Government. Singapore Annual Report on Tourism Statistics. Singapore: Singapore Government, 2012. Suen, Wong Hong. Wartime Kitchen: Food and Eating in Singapore 1942-1950. Singapore: Editions Didier Millet & National Museum of Singapore, 2009. Tan, Annette. Savour Chinatown: Stories, Memories & Recipes. Singapore: Ate Ideas, 2012. Tan, Cheryl Lu-Lien. A Tiger in the Kitchen: A Memoir of Food and Family. New York: Hyperion, 2011. Tan, Sylvia. Singapore Heritage Food: Yesterday’s Recipes for Today’s Cooks. Singapore: Landmark Books, 2004. Tan, Terry. Stir-Fried and Not Shaken: A Nostalgic Trip Down Singapore’s Memory Lane. Singapore: Monsoon, 2009. Tarulevicz, Nicole. Eating Her Curries and Kway: A Cultural History of Food in Singapore. Champaign, IL: U of Illinois P, 2013. Tay, Leslie. ieat·ishoot·ipost [blog] (2013) 21 Nov. 2013 ‹http://www.ieatishootipost.sg›. ---. The End of Char Kway Teow and Other Hawker Mysteries. Singapore: Epigram Books, 2010. Time Out Singapore. “Food for Thought (National Museum).” Time Out Singapore 8 July (2013). 11 Nov. 2013 ‹http://www.timeoutsingapore.com/restaurants/asian/food-for-thought-national-museum›. Tully, Joyceline, and Tan, Christopher. Heritage Feasts: A Collection of Singapore Family Recipes. Singapore: Miele/Ate Media, 2010. Wine & Dine: The Art of Good Living (Nov. 2013). 19 Nov. 2013 ‹http://www.wineanddine.com.sg›. Wine & Dine. “About Us: The Living Legacy.” Wine & Dine (Nov. 2013). 19 Nov. 2013 ‹http://www.wineanddine.com.sg/about-us› Wolf, E. “Culinary Tourism: A Tasty Economic Proposition.” (2002) 23 Nov. 2011 ‹http://www.culinary tourism.org›.Yeong, Yee Soo. Singapore Cooking. Singapore: Eastern Universities P, c.1976. Yeung, Sylvester, James Wong, and Edmond Ko. “Preferred Shopping Destination: Hong Kong Versus Singapore.” International Journal of Tourism Research 6.2 (2004): 85–96. Acknowledgements Research to complete this article was supported by Central Queensland University, Australia, under its Outside Studies Program (OSPRO) and Learning and Teaching Education Research Centre (LTERC). An earlier version of part of this article was presented at the 2nd Australasian Regional Food Networks and Cultures Conference, in the Barossa Valley in South Australia, Australia, 11–14 November 2012. The delegates of that conference and expert reviewers of this article offered some excellent suggestions regarding strengthening this article and their advice was much appreciated. All errors are, of course, my own.

<p>Dear Reader,</p> <p>Welcome to the inaugural Editorial of a unique journal: <em>ScienceOpen Research.</em></p> <p>The birth of the academic journal goes back more than 300 years, when the very first volume of the <em>Philosophical Transactions</em> was published by the Royal Society of London in 1665^{<a href="#[1]">[1]</a>}. Although the journal concept has undergone some remarkable transformations since then, the major intention has stayed the same: to inform the scientific community about new discoveries &ndash; and to gain recognition in return.</p> <p>One of the first essential improvements to the journal concept was the invention of peer review. Since paper doesn&rsquo;t blush, societies decided that it was inherently risky to take everything at face value. They started to ask one or two other members for their expert opinion, before the society decided to invest time and money printing and distributing the article to their members. So, the term &ldquo;published&rdquo; became equivalent to &ldquo;peer reviewed&rdquo; and today, every serious academic journal conducts some kind of peer review &ndash; or at least claims to do so.</p> <p>In the mid-20th century, another game changer entered stage left: The internet. Research articles didn&rsquo;t have to be printed any longer, bundled into issues and distributed to libraries all over the globe. Today, everyone is able to easily upload and download single documents from the internet. This is faster, cheaper and (with the addition of Open Access) results in broader dissemination of the content.</p> <p>Interestingly, although this digital revolution seriously affected the business models of traditional publishing houses and dictated some remarkable changes, the peer review process itself remained largely unaltered: 1-2 anonymous experts are asked for their opinion of whether the article is worthy of being published in their respective journal. Only accepted manuscripts will see the light of day, while the identity and the comments of the reviewers will remain in the dark.</p> <p>A revealing definition of the purpose of peer review can be found on the website of the Chancellor&rsquo;s Doctoral Incentive Program (CDIP) of the California State University: &ldquo;<em>The process is designed to </em><strong><em>prevent dissemination</em></strong><em> of irrelevant findings</em>, <em>unwarranted claims</em>, <em>unacceptable interpretations, and personal views.</em>&rdquo;^{<a href="#[2]">[2]</a>}</p> <p>For <em>ScienceOpen Research</em>, we decided on the opposite approach, focusing on the major purpose of peer review instead: <em>&quot;</em><strong><em>the evaluation of research findings for competence, significance, and originality by qualified experts</em></strong>&rdquo;, as Dale J. Benos and colleagues put it in their readable paper &ldquo;The ups and downs of peer review.&rdquo;^{<a href="#[3]">[3]</a>}</p> <p>Instead of preventing manuscripts from being published, we decided to let the scientific community evaluate the articles and decide which articles are scientifically sound and which have higher importance than others. A manuscript has to pass an internal editorial check first, before it is accepted for <em>ScienceOpen Research</em>. This aim of this evaluation is to prevent plagiarized and non-scientific articles from swamping the pool of articles that are awaiting peer review. Needless to say that all articles in <em>ScienceOpen Research</em> are published Open Access under the most liberal Creative Commons Attribution License <a href="http://creativecommons.org/licenses/by/4.0/" target="xrefwindow">CC BY 4.0</a> &ndash; not building any barriers to the broadest possible readership and maximum impact.</p> <p>The subsequent post-publication peer review process is completely transparent and conducted by experts in the field, under their true identity. Their referee reports are published under CC BY license and receive a Digital Object Identifier (DOI). This eliminates annoying and unproductive waiting times, helps to prevent misconduct during the review process, enables readers to evaluate the review process itself, and finally helps reviewers to achieve recognition for their essential work as a referee.</p> <p>It might even help to overcome &ldquo;<em>the most widely recognized failing of peer review&rdquo;</em>, as Michal David puts it, namely <em>&ldquo;its inability to ensure the identification of high-quality work.&rdquo; </em>Obviously, this problem is as old as the journal concept itself:<em> &ldquo;The list of important scientific papers that were initially rejected by peer-reviewed journals goes back at least as far as the editor of Philosophical Transaction&#39;s 1796 rejection of Edward Jenner&#39;s report of the first vaccination against smallpox.&quot;</em>^{<a href="#[4]">[4]</a>}</p> <p>The ScienceOpen article pool currently comprises more than 1.4 million Open Access articles. Of course, not all of them have been published in one of our own journals <em>ScienceOpen Research</em> or <em>ScienceOpen Posters</em>. The majority have been published by various other Open Access publishers all over the world. The fact that the authors chose to publish their papers under CC BY license allows us to gather the information on a single networking platform. In order to divide this content into digestible pieces, articles can be bundled into virtual Journals, which we call <em>Collections</em>. It might come as no surprise, but the Collection &ldquo;<a href="https://www.scienceopen.com/collection/scienceopen_research">ScienceOpen Research</a>&rdquo; comprises all articles published in <em>ScienceOpen Research</em>. Collections Editors are able to compile their own virtual journal from the content on ScienceOpen, providing another way to separate the wheat from the chaff and to highlight outstanding work.&nbsp;</p> <p>The quality and importance of an article isn&rsquo;t determined by the publishing house that managed the type setting and the peer review process. It is simply irrelevant for the importance of the finding, which journal name is mentioned in the article reference. Each article, whether published on ScienceOpen or elsewhere, should be read with an open mind and a skeptical attitude. Just because scientific results have been labeled &quot;published&quot; does not mean that the process of critical thinking should come to an end.</p> <p>As Editors of <em>ScienceOpen Research</em>, we are confident that a network-based and self-correcting peer review process, which enables the whole scientific community to participate, is an important step towards greater openness and transparency. Even if it requires to say good-bye to some cherished traditions. During the &ldquo;paper age&rdquo;, peer review simply had to be conducted before publication. Now that we have entered the &ldquo;digital age&rdquo;, we are equipped with some remarkable tools that enable us to immediately share scientific results with as many peers as possible and instantaneously receive feedback from the community. We fully agree with <a href="https://www.scienceopen.com/user/d01e620e-f5ae-4cff-9925-318c24043af8" target="_blank">Nikolaus Kriegeskorte</a> who says: &ldquo;<em>It&rsquo;s up to scientists to design and continually improve the future publishing system.</em>&rdquo;^{<a href="#[5]">[5]</a>} Along these lines: Welcome to the democratization of scientific publishing!</p> <p>&nbsp;</p> <p>&nbsp;</p> <hr /> <h5>References</h5> <p><a id="[1]" name="[1]">[1]</a> <a href="http://rstl.royalsocietypublishing.org/content/1/1-22.toc">http://rstl.royalsocietypublishing.org/content/1/1-22.toc</a></p> <p><a id="[2]" name="[2]">[2]</a> <a href="http://teachingcommons.cdl.edu/cdip/facultyresearch/Definitionandpurposeofpeerreview.html">http://teachingcommons.cdl.edu/cdip/facultyresearch/Definitionandpurposeofpeerreview.html</a></p> <p><a id="[3]" name="[3]">[3]</a> Dale J. Benos, Edlira Bashari, Jose M. Chaves, Amit Gaggar, Niren Kapoor, Martin LaFrance, Robert Mans, David Mayhew, Sara McGowan, Abigail Polter, Yawar Qadri, Shanta Sarfare, Kevin Schultz, Ryan Splittgerber, Jason Stephenson, Cristy Tower, R. Grace Walton, Alexander Zotov, Ups and Downs of Peer Review, <em>Advances in Physiology Education</em>, 2007, 31(2): 145&ndash;152. DOI:<a href="http://dx.doi.org/10.1152%2Fadvan.00104.2006">10.1152/advan.00104.2006</a>. p. 145.</p> <p><a id="[4]" name="[4]">[4]</a> David Michaels, Politicizing Peer Review: Scientific Perspective in Wagner, Wendy and Rena Steinzor, eds.<em>, </em>Rescuing Science from Politics: Regulation and the Distortion of Scientific Research, Cambridge University Press,<em> </em>2006 p. 224, ISBN 978-0-521-85520-4.</p> <p><a id="[5]" name="[5]">[5]</a> Nikolaus Kriegeskorte, <a href="https://www.scienceopen.com/document/vid/d3ccc3df-0b0c-4795-9785-197b07436548" target="_blank">Open Evaluation: A Vision for Entirely Transparent Post-Publication Peer Review and Rating for Science</a>, <em>Frontiers in Computational Neuroscience</em>, 2012, 6:79. DOI:<a href="http://dx.doi.org/10.3389%2Ffncom.2012.00079" target="pmc_ext">10.3389/fncom.2012.00079</a>.</p> <p>Image credit: <a href="https://www.flickr.com/photos/mag3737/1914076277">Tom Magliery (CC BY-NC-SA 2.0)</a></p>

The concept of transmedia storyworlds unfolding across complex serial narrative structures has become increasingly important to the study of modern media industries and audience communities. Yet, the precise connections between transmedia networks, serial structures, and narrative processes often remain underdeveloped. The dispersion of potential story elements across a diverse collection of media platforms and technologies prompts questions concerning the function of seriality in the absence of fixed instalments, the meaning of narrative when plot is largely a personal construction of each audience member, and the nature of storytelling in the absence of a unifying author, or when authorship itself takes on a serial character. This special issue opens a conversation on the intersection of these three concepts and their implications for a variety of disciplines, artistic practices, and philosophies. By re-thinking these concepts from fresh perspectives, the collection challenges scholars to consider how a wide range of academic, aesthetic, and social phenomena might be productively thought through using the overlapping lenses of transmedia, seriality, and narrativity. Thus, the collection gathers scholars from life-writing, sport, film studies, cultural anthropology, fine arts, media studies, and literature, all of whom find common ground at this fruitful crossroads. This breadth also challenges the narrow use of transmedia as a specialized term to describe current developments in corporate mass media products that seek to exploit the affordances of hybrid digital media environments. Many prominent scholars, including Marie-Laure Ryan and Henry Jenkins, acknowledge that a basic definition of transmedia as stories with extensions and reinterpretations in numerous media forms includes the oldest kinds of human expression, such as the ancient storyworlds of Arthurian legend and The Odyssey. Yet, what Jenkins terms “top-down” transmedia—that is, pre-planned and often corporate transmedia—has received a disproportionate share of scholarly attention, with modern franchises like The Matrix, the Marvel universe, and Lost serving as common exemplars (Flanagan, Livingstone, and McKenny; Hadas; Mittell; Scolari). Thus, many of the contributions to this issue push the boundaries of what has commonly been studied as transmedia as well as the limits of what may be considered a serial structure or even a story. For example, these papers imagine how an autobiography may also be a digital concept album unfolding in reverse, how participatory artistic performances may unfold in unpredictable instalments across physical and digital space, and how studying sports fandom as a long series of transmedia narrative elements encourages scholars to grapple with the unique structures assembled by audiences of non-fictional story worlds. Setting these experimental offerings into dialogue with entries that approach the study of transmedia in a more established manner provides the basis for building bridges between such recognized conversations in new media studies and potential collaborations with other disciplines and subfields of media studies.This issue builds upon papers collected from four years of the International Transmedia Serial Narration Seminar, which I co-organized with Dr. Claire Cornillon, Assistant Professor (Maîtresse de Conférences) of comparative literature at Université de Nîmes. The seminar held sessions in Paris, Le Havre, Rouen, Amsterdam, and Utrecht, with interdisciplinary speakers from the USA, Australia, France, Belgium, and the Netherlands. As a transnational, interdisciplinary project intended to cross both theoretical and physical boundaries, the seminar aimed to foster exchange between academic conversations that can become isolated not only within disciplines, but also within national and linguistic borders. The seminar thus sought to enhance academic mobility between both people and ideas, and the digital, open-access publication of the collected papers alongside additional scholarly interlocutors serves to broaden the seminar’s goals of creating a border-crossing conversation. After two special issues primarily collecting the French language papers in TV/Series (2014) and Revue Française des Sciences de l’Information et de la Communication (2017), this issue seeks to share the Transmedia Serial Narration project with a wider audience by publishing the remaining English-language papers, accompanied by several other contributions in dialogue with the seminar’s themes. It is our hope that this collection will invite a broad international audience to creatively question the meaning of transmedia, seriality, and narrativity both historically and in the modern, rapidly changing, global and digital media environment.Several articles in the issue illuminate existing debates and common case studies in transmedia scholarship by comparing theoretical models to the much more slippery reality of a media form in flux. Thus, Mélanie Bourdaa’s feature article, “From One Medium to the Next: How Comic Books Create Richer Storylines,” examines theories of narrative complexity and transmedia by scholars including Henry Jenkins, Derek Johnson, and Jason Mittell to then propose a new typology of extensions to accommodate the lived reality expressed by producers of transmedia. Because her interviews with artists and writers emphasize the co-constitutive nature of economic and narrative considerations in professionals’ decisions, Bourdaa’s typology can offer researchers a tool to clarify the marketing and narrative layers of transmedia extensions. As such, her classification system further illuminates what is particular about forms of corporate transmedia with a profit orientation, which may not be shared by non-profit, collective, and independently produced transmedia projects.Likewise, Radha O’Meara and Alex Bevan map existing scholarship on transmedia to point out the limitations of deriving theory only from certain forms of storytelling. In their article “Transmedia Theory’s Author Discourse and Its Limitations,” O’Meara and Bevan argue that scholars have preferred to focus on examples of transmedia with a strong central author-figure or that they may indeed help to rhetorically shore up the coherency of transmedia authorship through writing about transmedia creators as auteurs. Tying their critique to the established weaknesses of auteur theory associated with classic commentaries like Roland Barthes’ “Death of the Author” and Foucault’s “What is an Author?”, O’Meara and Bevan explain that this focus on transmedia creators as authority figures reinforces hierarchical, patriarchal understandings of the creative process and excludes from consideration all those unauthorized transmedia extensions through which audiences frequently engage and make meaning from transmedia networks. They also emphasize the importance of constructing academic theories of transmedia authorship that can accommodate collaborative forms of hybrid amateur and professional authorship, as well as tolerate the ambiguities of “authorless” storyworlds that lack clear narrative boundaries. O’Meara and Bevan argue that such theories will help to break down gendered power hierarchies in Hollywood, which have long allowed individual men to “claim credit for the stories and for all the work that many people do across various sectors and industries.”Dan Hassler-Forest likewise considers existing theory and a corporate case study in his examination of analogue echoes within a modern transmedia serial structure by mapping the storyworld of Twin Peaks (1990). His article, “‘Two Birds with One Stone’: Transmedia Serialisation in Twin Peaks,” demonstrates the push-and-pull between two contemporary TV production strategies: first, the use of transmedia elements that draw viewers away from the TV screen toward other platforms, and second, the deployment of strategies that draw viewers back to the TV by incentivizing broadcast-era appointment viewing. Twin Peaks offers a particularly interesting example of the manner in which these strategies intertwine partly because it already offered viewers an analogue transmedia experience in the 1990s by splitting story elements between TV episodes and books. Unlike O’Meara and Bevan, who elucidate the growing prominence of transmedia auteurs who lend rhetorical coherence to dispersed narrative elements, Hassler-Forest argues that this older analogue transmedia network capitalized upon the dilution of authorial authority, due to the distance between TV and book versions, to negotiate tensions between the producers’ competing visions. Hassler-Forest also notes that the addition of digital soundtrack albums further complicates the serial nature of the story by using the iTunes and TV distribution schedules to incentivize repeated sequential consumption of each element, thus drawing modern viewers to the TV screen, then the computer screen, and then back again.Two articles offer a concrete test of these theoretical perspectives by utilizing ethnographic participant-observation and interviewing to examine how audiences actually navigate diffuse, dispersed storyworlds. For example, Céline Masoni’s article, “From Seriality to Transmediality: A Socio-narrative Approach of a Skilful and Literate Audience,” documents fans’ highly strategic participatory practices. From her observations of and interviews with fans, Masoni theorizes the types of media literacy and social as well as technological competencies cultivated through transmedia fan practices. Olivier Servais and Sarah Sepulchre’s article similarly describes a long-term ethnography of fan transmedia activity, including interviews with fans and participant-observation of the MMORPG (Massively Multiplayer Online Role-Playing Game) Game of Thrones Ascent (2013). Servais and Sepulchre find that most people in their interviews are not “committed” fans, but rather casual readers and viewers who follow transmedia extensions sporadically. By focusing on this group, they widen the existing research which often focuses on or assumes a committed audience like the skilful and literate fans discussed by Masoni.Servais and Sepulchre’s results suggest that these viewers may be less likely to seek out all transmedia extensions but readily accept and adapt unexpected elements, such as the media appearances of actors, to add to their serial experiences of the storyworld. In a parallel research protocol observing the Game of Thrones Ascent MMORPG, Servais and Sepulchre report that the most highly-skilled players exhibit few behaviours associated with immersion in the storyworld, but the majority of less-skilled players use their gameplay choices to increase immersion by, for example, choosing a player name that evokes the narrative. As a result, Servais and Sepulchre shed light upon the activities of transmedia audiences who are not necessarily deeply committed to the entire transmedia network, and yet who nonetheless make deliberate choices to collect their preferred narrative elements and increase their own immersion.Two contributors elucidate forms of transmedia that upset the common emphasis on storyworlds with film or TV as the core property or “mothership” (Scott). In her article “Transmedia Storyworlds, Literary Theory, Games,” Joyce Goggin maps the history of intersections between experimental literature and ludology. As a result, she questions the continuing dichotomy between narratology and ludology in game studies to argue for a more broadly transmedia strategy, in which the same storyworld may be simultaneously narrative and ludic. Such a theory can incorporate a great deal of what might otherwise be unproblematically treated as literature, opening up the book to interrogation as an inherently transmedial medium.L.J. Maher similarly examines the serial narrative structures that may take shape in a transmedia storyworld centred on music rather than film or TV. In her article “You Got Spirit, Kid: Transmedial Life-Writing Across Time and Space,” Maher charts the music, graphic novels, and fan interactions that comprise the Coheed and Cambria band storyworld. In particular, Maher emphasizes the importance of autobiography for Coheed and Cambria, which bridges between fictional and non-fictional narrative elements. This interplay remains undertheorized within transmedia scholarship, although a few have begun to explicate the use of transmedia life-writing in an activist context (Cati and Piredda; Van Luyn and Klaebe; Riggs). As a result, Maher widens the scope of existing transmedia theory by more thoroughly connecting fictional and autobiographical elements in the same storyworld and considering how serial transmedia storytelling structures may differ when the core component is music.The final three articles take a more experimental approach that actively challenges the existing boundaries of transmedia scholarship. Catherine Lord’s article, “Serial Nuns: Michelle Williams Gamaker’s The Fruit Is There to Be Eaten as Serial and Trans-serial,” explores the unique storytelling structures of a cluster of independent films that traverse time, space, medium, and gender. Although not a traditional transmedia project, since the network includes a novel and film adaptations and extensions by different directors as well as real-world locations and histories, Lord challenges transmedia theorists to imagine storyworlds that include popular history, independent production, and spatial performances and practices. Lord argues that the main character’s trans identity provides an embodied and theoretical pivot within the storyworld, which invites audiences to accept a position of radical mobility where all fixed expectations about the separation between categories of flora and fauna, centre and periphery, the present and the past, as well as authorized and unauthorized extensions, dissolve.In his article “Non-Fiction Transmedia: Seriality and Forensics in Media Sport,” Markus Stauff extends the concept of serial transmedia storyworlds to sport, focusing on an audience-centred perspective. For the most part, transmedia has been theorized with fictional storyworlds as the prototypical examples. A growing number of scholars, including Arnau Gifreu-Castells and Siobhan O'Flynn, enrich our understanding of transmedia storytelling by exploring non-fiction examples, but these are commonly restricted to the documentary genre (Freeman; Gifreu-Castells, Misek, and Verbruggen; Karlsen; Kerrigan and Velikovsky). Very few scholars comment on the transmedia nature of sport coverage and fandom, and when they do so it is often within the framework of transmedia news coverage (Gambarato, Alzamora, and Tárcia; McClearen; Waysdorf). Stauff’s article thus provides a welcome addition to the existing scholarship in this field by theorizing how sport fans construct a user-centred serial transmedia storyworld by piecing together narrative elements across media sources, embodied experiences, and the serialized ritual of sport seasons. In doing so, he points toward ways in which non-fiction transmedia may significantly differ from fictional storyworlds, but he also enriches our understanding of an audience-centred perspective on the construction of transmedia serial narratives.In his artistic practice, Robert Lawrence may most profoundly stretch the existing parameters of transmedia theory. Lawrence’s article, “Locate, Combine, Contradict, Iterate: Serial Strategies for PostInternet Art,” details his decades-long interrogation of transmedia seriality through performative and participatory forms of art that bridge digital space, studio space, and public space. While theatre and fine arts have often been considered through the theoretical lens of intermediality (Bennett, Boenisch, Kattenbelt, Vandsoe), the nexus of transmedia, seriality, and narrative enables Lawrence to describe the complex, interconnected web of planned and unplanned extensions of his hybrid digital and physical installations, which often last for decades and incorporate a global scope. Lawrence thus takes the strategies of engagement that are perhaps more familiar to transmedia theorists from corporate viral marketing campaigns and turns them toward civic ends (Anyiwo, Bourdaa, Hardy, Hassler-Forest, Scolari, Sokolova, Stork). As such, Lawrence’s artistic practice challenges theorists of transmedia and intermedia to consider the kinds of social and political “interventions” that artists and citizens can stage through the networked possibilities of transmedia expression and how the impact of such projects can be amplified through serial repetition.Together, the whole collection opens new pathways for transmedia scholarship, more deeply explores how transmedia narration complicates understandings of seriality, and constructs an international, interdisciplinary dialogue that brings often isolated conversations into contact. In particular, this issue enriches the existing scholarship on independent, artistic, and non-fiction transmedia, while also proposing some important limitations, exceptions, and critiques to existing scholarship featuring corporate transmedia projects with a commercial, top-down structure and a strong auteur-like creator. These diverse case studies and perspectives enable us to understand more inclusively the structures and social functions of transmedia in the pre-digital age, to theorize more robustly how audiences experience transmedia in the current era of experimentation, and to imagine more broadly a complex future for transmedia seriality wherein professionals, artists, and amateurs all engage in an iterative, inclusive process of creative and civic storytelling, transcending artificial borders imposed by discipline, nationalism, capitalism, and medium.ReferencesAnyiwo, U. Melissa. "It’s Not Television, It’s Transmedia Storytelling: Marketing the ‘Real’World of True Blood." True Blood: Investigating Vampires and Southern Gothic. Ed. Brigid Cherry. New York: IB Tauris, 2012. 157-71.Barthes, Roland. "The Death of the Author." Image, Music, Text. Trans. Stephen Heath. Basingstoke: Macmillian, 1988. 142-48.Bennett, Jill. "Aesthetics of Intermediality." Art History 30.3 (2007): 432-450.Boenisch, Peter M. "Aesthetic Art to Aisthetic Act: Theatre, Media, Intermedial Performance." (2006): 103-116.Bourdaa, Melanie. "This Is Not Marketing. This Is HBO: Branding HBO with Transmedia Storytelling." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 7.1 (2014).Cati, Alice, and Maria Francesca Piredda. "Among Drowned Lives: Digital Archives and Migrant Memories in the Age of Transmediality." a/b: Auto/Biography Studies 32.3 (2017): 628-637.Flanagan, Martin, Andrew Livingstone, and Mike McKenny. The Marvel Studios Phenomenon: Inside a Transmedia Universe. New York: Bloomsbury Publishing, 2016.Foucault, Michel. "Authorship: What Is an Author?" Screen 20.1 (1979): 13-34.Freeman, Matthew. "Small Change – Big Difference: Tracking the Transmediality of Red Nose Day." VIEW Journal of European Television History and Culture 5.10 (2016): 87-96.Gambarato, Renira Rampazzo, Geane C. Alzamora, and Lorena Peret Teixeira Tárcia. "2016 Rio Summer Olympics and the Transmedia Journalism of Planned Events." Exploring Transmedia Journalism in the Digital Age. Hershey, PA: IGI Global, 2018. 126-146.Gifreu-Castells, Arnau. "Mapping Trends in Interactive Non-fiction through the Lenses of Interactive Documentary." International Conference on Interactive Digital Storytelling. Berlin: Springer, 2014.Gifreu-Castells, Arnau, Richard Misek, and Erwin Verbruggen. "Transgressing the Non-fiction Transmedia Narrative." VIEW Journal of European Television History and Culture 5.10 (2016): 1-3.Hadas, Leora. "Authorship and Authenticity in the Transmedia Brand: The Case of Marvel's Agents of SHIELD." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 7.1 (2014).Hardy, Jonathan. "Mapping Commercial Intertextuality: HBO’s True Blood." Convergence 17.1 (2011): 7-17.Hassler-Forest, Dan. "Skimmers, Dippers, and Divers: Campfire’s Steve Coulson on Transmedia Marketing and Audience Participation." Participations 13.1 (2016): 682-692.Jenkins, Henry. “Transmedia 202: Further Reflections.” Confessions of an Aca-Fan. 31 July 2011. <http://henryjenkins.org/blog/2011/08/defining_transmedia_further_re.html>. ———. “Transmedia Storytelling 101.” Confessions of an Aca-Fan. 21 Mar. 2007. <http://henryjenkins.org/blog/2007/03/transmedia_storytelling_101.html>. ———. Convergence Culture: Where Old and New Media Collide. New York: New York University Press, 2006.Johnson, Derek. Media Franchising: Creative License and Collaboration in the Culture Industries. New York: New York UP, 2013.Karlsen, Joakim. "Aligning Participation with Authorship: Independent Transmedia Documentary Production in Norway." VIEW Journal of European Television History and Culture 5.10 (2016): 40-51.Kattenbelt, Chiel. "Theatre as the Art of the Performer and the Stage of Intermediality." Intermediality in Theatre and Performance 2 (2006): 29-39.Kerrigan, Susan, and J. T. Velikovsky. "Examining Documentary Transmedia Narratives through The Living History of Fort Scratchley Project." Convergence 22.3 (2016): 250-268.Van Luyn, Ariella, and Helen Klaebe. "Making Stories Matter: Using Participatory New Media Storytelling and Evaluation to Serve Marginalized and Regional Communities." Creative Communities: Regional Inclusion and the Arts. Intellect Press, 2015. 157-173.McClearen, Jennifer. "‘We Are All Fighters’: The Transmedia Marketing of Difference in the Ultimate Fighting Championship (UFC)." International Journal of Communication 11 (2017): 18.Mittell, Jason. "Playing for Plot in the Lost and Portal Franchises." Eludamos: Journal for Computer Game Culture 6.1 (2012): 5-13.O'Flynn, Siobhan. "Documentary's Metamorphic Form: Webdoc, Interactive, Transmedia, Participatory and Beyond." Studies in Documentary Film 6.2 (2012): 141-157.Riggs, Nicholas A. "Leaving Cancerland: Following Bud at the End of Life." Storytelling, Self, Society 10.1 (2014): 78-92.Ryan, Marie-Laure. “Transmedial Storytelling and Transfictionality.” Poetics Today, 34.3 (2013): 361-388. <https://doi.org/10.1215/03335372-2325250>.Scolari, Carlos Alberto. "Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production." International Journal of Communication 3 (2009).Scott, Suzanne. “Who’s Steering the Mothership: The Role of the Fanboy Auteur in Transmedia Storytelling.” The Participatory Cultures Handbook. Eds. Aaron Delwiche and Jennifer Henderson. New York: Routledge, 2013. 43-53.Sokolova, Natalia. "Co-opting Transmedia Consumers: User Content as Entertainment or ‘Free Labour’? The Cases of STALKER. and Metro 2033." Europe-Asia Studies 64.8 (2012): 1565-1583.Stork, Matthias. "The Cultural Economics of Performance Space: Negotiating Fan, Labor, and Marketing Practice in Glee's Transmedia Geography." Transformative Works & Cultures 15 (2014).Waysdorf, Abby. "My Football Fandoms, Performance, and Place." Transformative Works & Cultures 18 (2015).Vandsoe, Anette. "Listening to the World. Sound, Media and Intermediality in Contemporary Sound Art." SoundEffects – An Interdisciplinary Journal of Sound and Sound Experience 1.1 (2011): 67-81.

[Editors’ note: this lyric essay was presented as the keynote address at Edith Cowan University’s CREATEC symposium on the theme Catastrophe and Creativity in November 2012, and represents excerpts from the author’s publication Threading Light: Explorations in Loss and Poetry. Regina, SK: Hagios Press, 2011. Reproduced with the author’s permission].Essay and verse and anecdote are the ways I have chosen to apprentice myself to loss, grief, faith, memory, and the stories we use to tie and untie them. Cat’s cradle, Celtic lines, bends and hitches are familiar: however, when I write about loss, I find there are knots I cannot tie or release, challenging both my imagination and my craft. Over the last decade, I have been learning that writing poetry is also the art of tying together light and dark, grief and joy, of grasping and releasing. Language is a hinge that connects us with the flesh of our experience; it is also residue, the ash of memory and imagination. (Threading Light 7) ———Greek katastrophé overturning, sudden turn, from kata down + strophe ‘turning” from strephein to turn.Loss and catastrophe catapult us into the liminal, into a threshold space. We walk between land we have known and the open sea. ———Mnemosyne, the mother of the nine Muses, the personification of memory, makes anthropologists of us all. When Hermes picked up the lyre, it was to her—to Remembrance —that he sang the first song. Without remembrance, oral or written, we have no place to begin. Stone, amulet, photograph, charm bracelet, cufflink, fish story, house, facial expression, tape recorder, verse, or the same old traveling salesman joke—we have places and means to try to store memories. Memories ground us, even as we know they are fleeting and flawed constructions that slip through our consciousness; ghosts of ghosts. One cold winter, I stayed in a guest room in my mother’s apartment complex for three days. Because she had lost her sight, I sat at the table in her overheated and stuffy kitchen with the frozen slider window and tried to describe photographs as she tried to recall names and events. I emptied out the dusty closet she’d ignored since my father left, and we talked about knitting patterns, the cost of her mother’s milk glass bowl, the old clothes she could only know by rubbing the fabric through her fingers. I climbed on a chair to reach a serving dish she wanted me to have, and we laughed hysterically when I read aloud the handwritten note inside: save for Annette, in a script not hers. It’s okay, she said; I want all this gone. To all you kids. Take everything you can. When I pop off, I don’t want any belongings. Our family had moved frequently, and my belongings always fit in a single box; as a student, in the back of a car or inside a backpack. Now, in her ninth decade, my mother wanted to return to the simplicity she, too, recalled from her days on a small farm outside a small town. On her deathbed, she insisted on having her head shaved, and frequently the nursing staff came into the room to find she had stripped off her johnny shirt and her covers. The philosopher Simone Weil said that all we possess in the world is the power to say “I” (Gravity 119).Memory is a cracked bowl, and it fills endlessly as it empties. Memory is what we create out of what we have at hand—other people’s accounts, objects, flawed stories of our own creation, second-hand tales handed down like an old watch. Annie Dillard says as a life’s work, she’d remember everything–everything against loss, and go through life like a plankton net. I prefer the image of the bowl—its capacity to feed us, the humility it suggests, its enduring shape, its rich symbolism. Its hope. To write is to fashion a bowl, perhaps, but we know, finally, the bowl cannot hold everything. (Threading Light 78–80) ———Man is the sire of sorrow, sang Joni Mitchell. Like joy, sorrow begins at birth: we are born into both. The desert fathers believed—in fact, many of certain faiths continue to believe—that penthos is mourning for lost salvation. Penthus was the last god to be given his assignment from Zeus: he was to be responsible for grieving and loss. Eros, the son of Aphrodite, was the god of love and desire. The two can be seen in concert with one another, each mirroring the other’s extreme, each demanding of us the farthest reach of our being. Nietzsche, through Zarathustra, phrased it another way: “Did you ever say Yes to one joy? O my friends, then you have also said Yes to all Woe as well. All things are chained, entwined together, all things are in love.” (Threading Light 92) ———We are that brief crack of light, that cradle rocking. We can aspire to a heaven, or a state of forgiveness; we can ask for redemption and hope for freedom from suffering for ourselves and our loved ones; we may create children or works of art in the vague hope that we will leave something behind when we go. But regardless, we know that there is a wall or a dark curtain or a void against which we direct or redirect our lives. We hide from it, we embrace it; we taunt it; we flout it. We write macabre jokes, we play hide and seek, we walk with bated breath, scream in movies, or howl in the wilderness. We despair when we learn of premature or sudden death; we are reminded daily—an avalanche, an aneurysm, a shocking diagnosis, a child’s bicycle in the intersection—that our illusions of control, that youthful sense of invincibility we have clung to, our last-ditch religious conversions, our versions of Pascal’s bargain, nothing stops the carriage from stopping for us.We are fortunate if our awareness calls forth our humanity. We learn, as Aristotle reminded us, about our capacity for fear and pity. Seeing others as vulnerable in their pain or weakness, we see our own frailties. As I read the poetry of Donne or Rumi, or verse created by the translator of Holocaust stories, Lois Olena, or the work of poet Sharon Olds as she recounts the daily horror of her youth, I can become open to pity, or—to use the more contemporary word—compassion. The philosopher Martha Nussbaum argues that works of art are not only a primary means for an individual to express her humanity through catharsis, as Aristotle claimed, but, because of the attunement to others and to the world that creation invites, the process can sow the seeds of social justice. Art grounds our grief in form; it connects us to one another and to the world. And the more we acquaint ourselves with works of art—in music, painting, theatre, literature—the more we open ourselves to complex and nuanced understandings of our human capacities for grief. Why else do we turn to a stirring poem when we are mourning? Why else do we sing? When my parents died, I came home from the library with stacks of poetry and memoirs about loss. How does your story dovetail with mine? I wanted to know. How large is this room—this country—of grief and how might I see it, feel the texture on its walls, the ice of its waters? I was in a foreign land, knew so little of its language, and wanted to be present and raw and vulnerable in its climate and geography. Writing and reading were my way not to squander my hours of pain. While it was difficult to live inside that country, it was more difficult not to. In learning to know graveyards as places of comfort and perspective, Mnemosyne’s territory with her markers of memory guarded by crow, leaf, and human footfall, with storehouses of vast and deep tapestries of stories whispered, sung, or silent, I am cultivating the practice of walking on common ground. Our losses are really our winter-enduring foliage, Rilke writes. They are place and settlement, foundation and soil, and home. (Threading Light 86–88) ———The loseability of our small and larger worlds allows us to see their gifts, their preciousness.Loseability allows us to pay attention. ———“A faith-based life, a Trappistine nun said to me, aims for transformation of the soul through compunction—not only a state of regret and remorse for our inadequacies before God, but also living inside a deeper sorrow, a yearning for a union with the divine. Compunction, according to a Christian encyclopaedia, is constructive only if it leads to repentance, reconciliation, and sanctification. Would you consider this work you are doing, the Trappistine wrote, to be a spiritual journey?Initially, I ducked her question; it was a good one. Like Neruda, I don’t know where the poetry comes from, a winter or a river. But like many poets, I feel the inadequacy of language to translate pain and beauty, the yearning for an embodied understanding of phenomena that is assensitive and soul-jolting as the contacts of eye-to-eye and skin-to-skin. While I do not worship a god, I do long for an impossible union with the world—a way to acknowledge the gift that is my life. Resonance: a search for the divine in the everyday. And more so. Writing is a full-bodied, sensory, immersive activity that asks me to give myself over to phenomena, that calls forth deep joy and deep sorrow sometimes so profound that I am gutted by my inadequacy. I am pierced, dumbstruck. Lyric language is the crayon I use, and poetry is my secular compunction...Poets—indeed, all writers—are often humbled by what we cannot do, pierced as we are by—what? I suggest mystery, impossibility, wonder, reverence, grief, desire, joy, our simple gratitude and despair. I speak of the soul and seven people rise from their chairs and leave the room, writes Mary Oliver (4). Eros and penthos working in concert. We have to sign on for the whole package, and that’s what both empties us out, and fills us up. The practice of poetry is our inadequate means of seeking the gift of tears. We cultivate awe, wonder, the exquisite pain of seeing and knowing deeply the abundant and the fleeting in our lives. Yes, it is a spiritual path. It has to do with the soul, and the sacred—our venerating the world given to us. Whether we are inside a belief system that has or does not have a god makes no difference. Seven others lean forward to listen. (Threading Light 98–100)———The capacity to give one’s attention to a sufferer is a rare thing; it is almost a miracle; it is a miracle. – Simone Weil (169)I can look at the lines and shades on the page clipped to the easel, deer tracks in the snow, or flecks of light on a summer sidewalk. Or at the moon as it moves from new to full. Or I can read the poetry of Paul Celan.Celan’s poem “Tenebrae” takes its title from high Christian services in which lighting, usually from candles, is gradually extinguished so that by the end of the service, the church is in total darkness. Considering Celan’s—Antschel’s—history as a Romanian Jew whose parents were killed in the Nazi death camps, and his subsequent years tortured by the agony of his grief, we are not surprised to learn he chose German, his mother’s language, to create his poetry: it might have been his act of defiance, his way of using shadow and light against the other. The poet’s deep grief, his profound awareness of loss, looks unflinchingly at the past, at the piles of bodies. The language has become a prism, reflecting penetrating shafts of shadow: in the shine of blood, the darkest of the dark. Enlinked, enlaced, and enamoured. We don’t always have names for the shades of sorrows and joys we live inside, but we know that each defines and depends upon the other. Inside the core shadow of grief we recognise our shared mortality, and only in that recognition—we are not alone—can hope be engendered. In the exquisite pure spot of light we associate with love and joy, we may be temporarily blinded, but if we look beyond, and we draw on what we know, we feel the presence of the shadows that have intensified what appears to us as light. Light and dark—even in what we may think are their purest state—are transitory pauses in the shape of being. Decades ago my well-meaning mother, a nurse, gave me pills to dull the pain of losing my fiancé who had shot himself; now, years later, knowing so many deaths, and more imminent, I would choose the bittersweet tenderness of being fully inside grief—awake, raw, open—feeling its walls, its every rough surface, its every degree of light and dark. It is love/loss, light/dark, a fusion that brings me home to the world. (Threading Light 100–101) ———Loss can trigger and inspire creativity, not only at the individual level but at the public level, whether we are marching in Idle No More demonstrations, re-building a shelter, or re-building a life. We use art to weep, to howl, to reach for something that matters, something that means. And sometimes it may mean that all we learn from it is that nothing lasts. And then, what? What do we do then? ———The wisdom of Epictetus, the Stoic, can offer solace, but I know it will take time to catch up with him. Nothing can be taken from us, he claims, because there is nothing to lose: what we lose—lover, friend, hope, father, dream, keys, faith, mother—has merely been returned to where it (or they) came from. We live in samsara, Zen masters remind us, inside a cycle of suffering that results from a belief in the permanence of self and of others. Our perception of reality is narrow; we must broaden it to include all phenomena, to recognise the interdependence of lives, the planet, and beyond, into galaxies. A lot for a mortal to get her head around. And yet, as so many poets have wondered, is that not where imagination is born—in the struggle and practice of listening, attending, and putting ourselves inside the now that all phenomena share? Can I imagine the rush of air under the loon that passes over my house toward the ocean every morning at dawn? The hot dust under the cracked feet of that child on the outskirts of Darwin? The gut-hauling terror of an Afghan woman whose family’s blood is being spilled? Thich Nhat Hanh says that we are only alive when we live the sufferings and the joys of others. He writes: Having seen the reality of interdependence and entered deeply into its reality, nothing can oppress you any longer. You are liberated. Sit in the lotus position, observe your breath, and ask one who has died for others. (66)Our breath is a delicate thread, and it contains multitudes. I hear an echo, yes. The practice of poetry—my own spiritual and philosophical practice, my own sackcloth and candle—has allowed me a glimpse not only into the lives of others, sentient or not, here, afar, or long dead, but it has deepened and broadened my capacity for breath. Attention to breath grounds me and forces me to attend, pulls me into my body as flesh. When I see my flesh as part of the earth, as part of all flesh, as Morris Berman claims, I come to see myself as part of something larger. (Threading Light 134–135) ———We think of loss as a dark time, and yet it opens us, deepens us.Close attention to loss—our own and others’—cultivates compassion.As artists we’re already predisposed to look and listen closely. We taste things, we touch things, we smell them. We lie on the ground like Mary Oliver looking at that grasshopper. We fill our ears with music that not everyone slows down to hear. We fall in love with ideas, with people, with places, with beauty, with tragedy, and I think we desire some kind of fusion, a deeper connection than everyday allows us. We want to BE that grasshopper, enter that devastation, to honour it. We long, I think, to be present.When we are present, even in catastrophe, we are fully alive. It seems counter-intuitive, but the more fully we engage with our losses—the harder we look, the more we soften into compassion—the more we cultivate resilience. ———Resilience consists of three features—persistence, adaptability transformability—each interacting from local to global scales. – Carl FolkeResilent people and resilient systems find meaning and purpose in loss. We set aside our own egos and we try to learn to listen and to see, to open up. Resilience is fundamentally an act of optimism. This is not the same, however, as being naïve. Optimism is the difference between “why me?” and “why not me?” Optimism is present when we are learning to think larger than ourselves. Resilience asks us to keep moving. Sometimes with loss there is a moment or two—or a month, a year, who knows?—where we, as humans, believe that we are standing still, we’re stuck, we’re in stasis. But we aren’t. Everything is always moving and everything is always in relation. What we mistake for stasis in a system is the system taking stock, transforming, doing things underneath the surface, preparing to rebuild, create, recreate. Leonard Cohen reminded us there’s a crack in everything, and that’s how the light gets in. But what we often don’t realize is that it’s we—the human race, our own possibilities, our own creativity—who are that light. We are resilient when we have agency, support, community we can draw on. When we have hope. ———FortuneFeet to carry you past acres of grapevines, awnings that opento a hall of paperbarks. A dog to circle you, look behind, point ahead. A hip that bends, allows you to slidebetween wire and wooden bars of the fence. A twinge rides with that hip, and sometimes the remnant of a fall bloomsin your right foot. Hands to grip a stick for climbing, to rest your weight when you turn to look below. On your left hand,a story: others see it as a scar. On the other, a newer tale; a bone-white lump. Below, mist disappears; a nichein the world opens to its long green history. Hills furrow into their dark harbours. Horses, snatches of inhale and whiffle.Mutterings of men, a cow’s long bellow, soft thud of feet along the hill. You turn at the sound.The dog swallows a cry. Stays; shakes until the noise recedes. After a time, she walks on three legs,tests the paw of the fourth in the dust. You may never know how she was wounded. She remembers your bodyby scent, voice, perhaps the taste of contraband food at the door of the house. Story of human and dog, you begin—but the wordyour fingers make is god. What last year was her silken newborn fur is now sunbleached, basket dry. Feet, hips, hands, paws, lapwings,mockingbirds, quickening, longing: how eucalypts reach to give shade, and tiny tight grapes cling to vines that align on a slope as smoothlyas the moon follows you, as intention always leans toward good. To know bones of the earth are as true as a point of light: tendernesswhere you bend and press can whisper grace, sorrow’s last line, into all that might have been,so much that is. (Threading Light 115–116) Acknowledgments The author would like to thank Dr. Lekkie Hopkins and Dr. John Ryan for the opportunity to speak (via video) to the 2012 CREATEC Symposium Catastrophe and Creativity, to Dr. Hopkins for her eloquent and memorable paper in response to my work on creativity and research, and to Dr. Ryan for his support. The presentation was recorded and edited by Paul Poirier at Mount Saint Vincent University in Halifax, Nova Scotia. My thanks go to Edith Cowan and Mount Saint Vincent Universities. ReferencesBerman, Morris. Coming to Our Senses. New York: Bantam, 1990.Dillard, Annie. For the Time Being. New York: Vintage Books, 2000.Felstiner, John. Paul Celan: Poet, Survivor, Jew. New Haven, CT: Yale University Press, 2001.Folke, Carl. "On Resilience." Seed Magazine. 13 Dec. 2010. 22 Mar. 2013 ‹http://seedmagazine.com/content/article/on_resilience›.Franck, Frederick. Zen Seeing, Zen Drawing. New York: Bantam Books, 1993.Hanh, Thich Nhat. The Miracle of Mindfulness. Boston: Beacon Press, 1976.Hausherr, Irenee. Penthos: The Doctrine of Compunction in the Christian East. Kalamazoo, MI: Cistercian Publications, 1982.Neilsen Glenn, Lorri. Threading Light: Explorations in Loss and Poetry. Regina, SK: Hagios Press, 2011. Nietzsche, Frederick. Thus Spake Zarathustra. New York: Penguin, 1978. Nussbaum, Martha. Upheavals of Thought: The Intelligence of Emotions. New York: Cambridge University Press, 2001. Oliver, Mary. “The Word.” What Do We Know. Boston: DaCapo Press, 2002.Rilke, Rainer Maria. Duino Elegies and the Sonnets to Orpheus. (Tenth Elegy). Ed. Stephen Mitchell. New York: Random House/Vintage Editions, 2009.Weil, Simone. The Need for Roots. London: Taylor & Francis, 2005 (1952).Weil, Simone. Gravity and Grace. London: Routledge, 2004.Further ReadingChodron, Pema. Practicing Peace in Times of War. Boston: Shambhala, 2006.Cleary, Thomas (trans.) The Essential Tao: An Initiation into the Heart of Taoism through Tao de Ching and the Teachings of Chuang Tzu. Edison, NJ: Castle Books, 1993.Dalai Lama (H H the 14th) and Venerable Chan Master Sheng-yen. Meeting of Minds: A Dialogue on Tibetan and Chinese Buddhism. New York: Dharma Drum Publications, 1999. Hirshfield, Jane. "Language Wakes Up in the Morning: A Meander toward Writing." Alaska Quarterly Review. 21.1 (2003).Hirshfield, Jane. Nine Gates: Entering the Mind of Poetry. New York: HarperCollins, 1997. Lao Tzu. Tao Te Ching. Trans. Arthur Waley. Chatham: Wordsworth Editions, 1997. Neilsen, Lorri. "Lyric Inquiry." Handbook of the Arts in Qualitative Research. Eds. J. Gary Knowles and Ardra Cole. Thousand Oaks: Sage, 2008. 88–98. Ross, Maggie. The Fire and the Furnace: The Way of Tears and Fire. York: Paulist Press, 1987.

Introduction Darkness is often characterised as something that warrants heightened caution and scrutiny – signifying increased danger and risk. Within settler-colonial settings such as Australia, cautionary and negative connotations of darkness are projected upon Black people and their bodies, forming part of continuing colonial regimes of power (Moreton-Robinson). Negative stereotypes of “dark” continues to racialise all Indigenous peoples. In Australia, Indigenous peoples are both Indigenous and Black regardless of skin colour, and this plays out in a range of ways, some of which will be highlighted within this article. This article demonstrates that for Indigenous peoples, associations of fear and danger are built into the structural mechanisms that shape and maintain colonial understandings of Indigenous peoples and their bodies. It is this embodied form of darkness, and its negative connotations, and responses that we explore further. Figure 1: Megan Cope’s ‘I’m not afraid of the Dark’ t-shirt (Fredericks and Heemsbergen 2021) Responding to the anxieties and fears of settlers that often surround Indigenous peoples, Quandamooka artist and member of the art collective ProppaNow, Megan Cope, has produced a range of t-shirts, one of which declares “I’m not afraid of the Dark” (fig. 1). The wording ‘reflects White Australia’s fear of blackness’ (Dark + Dangerous). Exploring race relations through the theme of “darkness”, we begin by discussing how negative connotations of darkness are represented through everyday lexicons and how efforts to shift prejudicial and racist language are often met with defensiveness and resistance. We then consider how fears towards the dark translate into everyday practices, reinforced by media representations. The article considers how stereotype, conjecture, and prejudice is inflicted upon Indigenous people and reflects white settler fears and anxieties, rooting colonialism in everyday language, action, and norms. The Language of Fear Indigenous people and others with dark skin tones are often presented as having a proclivity towards threatening, aggressive, deceitful, and negative behaviours. This works to inform how Indigenous peoples are “known” and responded to by hegemonic (predominantly white) populations. Negative connotations of Indigenous people are a means of reinforcing and legitimising the falsity that European knowledge systems, norms, and social structures are superior whilst denying the contextual colonial circumstances that have led to white dominance. In Australia, such denial corresponds to the refusal to engage with the unceded sovereignty of Aboriginal peoples or acknowledge Indigenous resistance. Language is integral to the ways in which dominant populations come to “know” and present the so-called “Other”. Such language is reflected in digital media, which both produce and maintain white anxieties towards race and ethnicity. When part of mainstream vernacular, racialised language – and the value judgments associated with it – often remains in what Moreton-Robinson describes as “invisible regimes of power” (75). Everyday social structures, actions, and habits of thought veil oppressive and discriminatory attitudes that exist under the guise of “normality”. Colonisation and the dominance of Eurocentric ways of knowing, being, and doing has fixated itself on creating a normality that associates Indigeneity and darkness with negative and threatening connotations. In doing so, it reinforces power balances that presents an image of white superiority built on the invalidation of Indigeneity and Blackness. White fears and anxieties towards race made explicit through social and digital media are also manifest via subtle but equally pervasive everyday action (Carlson and Frazer; Matamoros-Fernández). Confronting and negotiating such fears becomes a daily reality for many Indigenous people. During the height of the 2020 Black Lives Matter protests in the United States, which extended to Australia and were linked to deaths in custody and police violence, African American poet Saul Williams reminded his followers of the power of language in constructing racialised fears (saulwilliams). In an Instagram post, Williams draws back the veil of an uncontested normality to ask that we take personal responsibility over the words we use. He writes: here’s a tip: Take the words DARK or BLACK in connection to bad, evil, ominous or scary events out of your vocabulary. We learn the stock market crashed on Black Monday, we read headlines that purport “Dark Days Ahead”. There’s “dark” or “black” humour which implies an undertone of evil, and then there are people like me who grow up with dark skin having to make sense of the English/American lexicon and its history of “fair complexions” – where “fair” can mean “light; blond.” OR “in accordance with rules or standards; legitimate.” We may not be fully responsible for the duplicitous evolution of language and subtle morphing of inherited beliefs into description yet we are in full command of the words we choose even as they reveal the questions we’ve left unasked. Like the work of Moreton-Robinson and other scholars, Williams implores his followers to take a reflexive position to consider the questions often left unasked. In doing so, he calls for the transcendence of anonymity and engagement with the realities of colonisation – no matter how ugly, confronting, and complicit one may be in its continuation. In the Australian context this means confronting how terms such as “dark”, “darkie”, or “darky” were historically used as derogatory and offensive slurs for Aboriginal peoples. Such language continues to be used today and can be found in the comment sections of social media, online news platforms, and other online forums (Carlson “Love and Hate”). Taking the move to execute personal accountability can be difficult. It can destabilise and reframe the ways in which we understand and interact with the world (Rose 22). For some, however, exposing racism and seemingly mundane aspects of society is taken as a personal attack which is often met with reactionary responses where one remains closed to new insights (Whittaker). This feeds into fears and anxieties pertaining to the perceived loss of power. These fears and anxieties continue to surface through conversations and calls for action on issues such as changing the date of Australia Day, the racialised reporting of news (McQuire), removing of plaques and statues known to be racist, and requests to change placenames and the names of products. For example, in 2020, Australian cheese producer Saputo Dairy Australia changed the name of it is popular brand “Coon” to “Cheer Tasty”. The decision followed a lengthy campaign led by Dr Stephen Hagan who called for the rebranding based on the Coon brand having racist connotations (ABC). The term has its racist origins in the United States and has long been used as a slur against people with dark skin, liking them to racoons and their tendency to steal and deceive. The term “Coon” is used in Australia by settlers as a racist term for referring to Aboriginal peoples. Claims that the name change is example of political correctness gone astray fail to acknowledge and empathise with the lived experience of being treated as if one is dirty, lazy, deceitful, or untrustworthy. Other brand names have also historically utilised racist wording along with imagery in their advertising (Conor). Pear’s soap for example is well-known for its historical use of racist words and imagery to legitimise white rule over Indigenous colonies, including in Australia (Jackson). Like most racial epithets, the power of language lies in how the words reflect and translate into actions that dehumanise others. The words we use matter. The everyday “ordinary” world, including online, is deeply politicised (Carlson and Frazer “They Got Filters”) and comes to reflect attitudes and power imbalances that encourage white people to internalise the falsity that they are superior and should have control over Black people (Conor). Decisions to make social change, such as that made by Saputo Dairy Australia, can manifest into further white anxieties via their ability to force the confrontation of the circumstances that continue to contribute to one’s own prosperity. In other words, to unveil the realities of colonialism and ask the questions that are too often left in the dark. Lived Experiences of Darkness Colonial anxieties and fears are driven by the fact that Black populations in many areas of the world are often characterised as criminals, perpetrators, threats, or nuisances, but are rarely seen as victims. In Australia, the repeated lack of police response and receptivity to concerns of Indigenous peoples expressed during the Black Lives Matter campaign saw tens of thousands of people take to the streets to protest. Protestors at the same time called for the end of police brutality towards Indigenous peoples and for an end to Indigenous deaths in custody. The protests were backed by a heavy online presence that sought to mobilise people in hope of lifting the veil that shrouds issues relating to systemic racism. There have been over 450 Aboriginal and Torres Strait Islander people to die in custody since the end of the Royal Commission into Aboriginal Deaths in Custody in 1991 (The Guardian). The tragedy of the Indigenous experience gains little attention internationally. The negative implications of being the object of white fear and anxiety are felt by Indigenous and other Black communities daily. The “safety signals” (Daniella Emanuel) adopted by white peoples in response to often irrational perceptions of threat signify how Indigenous and other Black peoples and communities are seen and valued by the hegemony. Memes played out in social media depicting “Karens” – a term that corresponds to caricaturised white women (but equally applicable to men) who exhibit behaviours of entitlement – have increasing been used in media to expose the prevalence of irrational racial fears (also see Wong). Police are commonly called on Indigenous people and other Black people for simply being within spaces such as shopping malls, street corners, parks, or other spaces in which they are considered not to belong (Mohdin). Digital media are also commonly envisioned as a space that is not natural or normal for Indigenous peoples, a notion that maintains narratives of so-called Indigenous primitivity (Carlson and Frazer). Media connotations of darkness as threatening are associated with, and strategically manipulated by, the images that accompany stories about Indigenous peoples and other Black peoples. Digital technologies play significant roles in producing and disseminating the images shown in the media. Moreover, they have a “role in mediating and amplifying old and new forms of abuse, hate, and discrimination” (Matamoros-Fernández and Farkas). Daniels demonstrates how social media sites can be spaces “where race and racism play out in interesting, sometimes disturbing, ways” (702), shaping ongoing colonial fears and anxieties over Black peoples. Prominent footballer Adam Goodes, for example, faced a string of attacks after he publicly condemned racism when he was called an “Ape” by a spectator during a game celebrating Indigenous contributions to the sport (Coram and Hallinan). This was followed by a barrage of personal attacks, criticisms, and booing that spread over the remaining years of his football career. When Goodes performed a traditional war dance as a form of celebration during a game in 2015, many turned to social media to express their outrage over his “confrontational” and “aggressive” behaviour (Robinson). Goodes’s affirmation of his Indigeneity was seen by many as a threat to their own positionality and white sensibility. Social media were therefore used as a mechanism to control settler narratives and maintain colonial power structures by framing the conversation through a white lens (Carlson and Frazer “They Got Filters”). Indigenous peoples in other highly visible fields have faced similar backlash. In 1993, Elaine George was the first Aboriginal person to feature on the cover of Vogue magazine, a decision considered “risky” at the time (Singer). The editor of Vogue later revealed that the cover was criticised by some who believed George’s skin tone was made to appear lighter than it actually was and that it had been digitally altered. The failure to accept a lighter skin colour as “Aboriginal” exposes a neglect to accept ethnicity and Blackness in all its diversity (Carlson and Frazer “They Got Filters”; Carlson “Love and Hate”). Where Adam Goodes was criticised for his overt expression of Blackness, George was critisised for not being “black enough”. It was not until seventeen years later that another Aboriginal model, Samantha Harris, was featured on the cover of Vogue (Marks). While George inspired and pathed the way for those to come, Harris experienced similar discrimination within the industry and amongst the public (Carson and Ky). Singer Jessica Mauboy (in Hornery) also explains how her identity was managed by others. She recalls, I was pretty young when I first received recognition, and for years I felt as though I couldn't show my true identity. What I was saying in public was very dictated by other people who could not handle my sense of culture and identity. They felt they had to take it off my hands. Mauboy’s experience not only demonstrates how Blackness continues to be seen as something to “handle”, but also how power imbalances play out. Scholar Chelsea Watego offers numerous examples of how this occurs in different ways and arenas, for example through relationships between people and within workplaces. Bargallie’s scholarly work also provides an understanding of how Indigenous people experience racism within the Australian public service, and how it is maintained through the structures and systems of power. The media often represents communities with large Indigenous populations as being separatist and not contributing to wider society and problematic (McQuire). Violence, and the threat of violence, is often presented in media as being normalised. Recently there have been calls for an increased police presence in Alice Springs, NT, and other remotes communities due to ongoing threats of “tribal payback” and acts of “lawlessness” (Sky News Australia; Hildebrand). Goldberg uses the phrase “Super/Vision” to describe the ways that Black men and women in Black neighbourhoods are continuously and erroneously supervised and surveilled by police using apparatus such as helicopters and floodlights. Simone Browne demonstrates how contemporary surveillance practices are rooted in anti-black domination and are operationalised through a white gaze. Browne uses the term “racializing surveillance” to describe a ”technology of social control where surveillance practices, policies, and performances concern the production of norms pertaining to race and exercise a ‘power to define what is in or out of place’” (16). The outcome is often discriminatory treatment to those negatively racialised by such surveillance. Narratives that associate Indigenous peoples with darkness and danger fuel colonial fears and uphold the invisible regimes of power by instilling the perception that acts of surveillance and the restrictions imposed on Indigenous peoples’ autonomy are not only necessary but justified. Such myths fail to contextualise the historic colonial factors that drive segregation and enable a forgetting that negates personal accountability and complicity in maintaining colonial power imbalances (Riggs and Augoustinos). Inayatullah and Blaney (165) write that the “myth we construct calls attention to a darker, tragic side of our ethical engagement: the role of colonialism in constituting us as modern actors.” They call for personal accountability whereby one confronts the notion that we are both products and producers of a modernity rooted in a colonialism that maintains the misguided notion of white supremacy (Wolfe; Mignolo; Moreton-Robinson). When Indigenous and other Black peoples enter spaces that white populations don’t traditionally associate as being “natural” or “fitting” for them (whether residential, social, educational, a workplace, online, or otherwise), alienation, discrimination, and criminalisation often occurs (Bargallie; Mohdin; Linhares). Structural barriers are erected, prohibiting career or social advancement while making the space feel unwelcoming (Fredericks; Bargallie). In workplaces, Indigenous employees become the subject of hyper-surveillance through the supervision process (Bargallie), continuing to make them difficult work environments. This is despite businesses and organisations seeking to increase their Indigenous staff numbers, expressing their need to change, and implementing cultural competency training (Fredericks and Bargallie). As Barnwell correctly highlights, confronting white fears and anxieties must be the responsibility of white peoples. When feelings of shock or discomfort arise when in the company of Indigenous peoples, one must reflexively engage with the reasons behind this “fear of the dark” and consider that perhaps it is they who are self-segregating. Mohdin suggests that spaces highly populated by Black peoples are best thought of not as “black spaces” or “black communities”, but rather spaces where white peoples do not want to be. They stand as reminders of a failed colonial regime that sought to deny and dehumanise Indigenous peoples and cultures, as well as the continuation of Black resistance and sovereignty. Conclusion In working towards improving relationships between Black and white populations, the truths of colonisation, and its continuing pervasiveness in local and global settings must first be confronted. In this article we have discussed the association of darkness with instinctual fears and negative responses to the unknown. White populations need to reflexively engage and critique how they think, act, present, address racism, and respond to Indigenous peoples (Bargallie; Moreton-Robinson; Whittaker), cultivating a “decolonising consciousness” (Bradfield) to develop new habits of thinking and relating. To overcome fears of the dark, we must confront that which remains unknown, and the questions left unasked. This means exposing racism and power imbalances, developing meaningful relationships with Indigenous peoples, addressing structural change, and implementing alternative ways of knowing and doing. Only then may we begin to embody Megan Cope’s message, “I’m not afraid of the Dark”. Acknowledgements We thank Dr Debbie Bargallie for her feedback on our article, which strengthened the work. References ABC News. 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Introduction Tiffany and Co. is an American luxury jewellery and specialty retailer with its headquarters in New York City. Each piece of jewellery, symbolically packaged in a blue box and tied with a white bow, encapsulates the brand’s unique diamond pieces, symbolic origin story, branded historical contributions and representations in culture. Cultural brands are those that live and thrive in the minds of consumers (Holt). Their brand promise inspires loyalty and trust. These brands offer experiences, products, and personalities and spark emotional connotations within consumers (Arvidsson). This case study uses Tiffany & Co. as a successful example to reveal the importance of understanding consumers, the influential nature of media culture, and the efficacy of strategic branding, advertising, and marketing over time (Holt). It also reveals how Tiffany & Co. earned and maintained its place as an iconic cultural brand within consumer culture, through its strong association with New York and products from abroad. Through its trademarked logo and authentic luxury jewellery, encompassed in the globally recognised “Tiffany Blue” boxes, Tiffany & Co.’s cultural significance stems from its embodiment of the expected makings of a brand (Chernatony et al.). However, what propels this brand into what Douglas Holt terms “iconic territory” is that in its one hundred and seventy-nine years of existence, Tiffany’s has lived exclusively in the minds of its consumers.Tiffany & Co.’s intuitive prowess in reaching its target audience is what allows it to dominate the luxury jewellery market (Halasz et al.). This is not only a result of product value, but the alluring nature of the “Tiffany's from New York” brand imagery and experience (Holt et al.), circulated and celebrated in consumer culture through influential depictions in music, film and literature over time (Knight). Tiffany’s faithfully participates in the magnetic identity myth embodied by the brand and city, and has become globally sought after by consumers near and far, and recognised for its romantic connotations of love, luxury, and New York (Holt). An American Dream: New York Affiliation & Diamond OriginsIt was Truman Capote’s characterisation of Holly Golightly in his book (1958) and film adaption, Breakfast at Tiffany’s (1961) that introduced the world to New York as the infatuating “setting,” upon which the Tiffany’s diamond rested. It was a place, that enabled the iconic Holly Golightly to personify the feeling of being abroad in New York and to demonstrate the seductive nature of a Tiffany’s store experience, further shaping the identity myth encompassed by the brand and the city for their global audience (Holt). Essentially, New York was the influential cultural instigator that propelled Tiffany & Co. from a consumer product, to a cultural icon. It did this by circulating its iconography via celebrity affiliations and representations in music, film, and literature (Knight), and by guiding strong brand associations in the minds of consumers (Arvidsson). However, before Tiffany’s became culturally iconic, it established its place in American heritage through historical contributions (Tiffany & Co.) and pledged an association to New York by personifying the American Dream (Mae). To help achieve his dream in a rapidly evolving economy (Elliott), Charles Lewis Tiffany purportedly brought the first substantial gemstones into America from overseas, and established the first American jewellery store to sell them to the public (Halasz et al.). The Tiffany & Co. origin story personifies the alluring nature of products from abroad, and their influence on individuals seeking an image of affluence for themselves. The ties between New York, Tiffany’s, and its consumers were further strengthened through the established, invaluable and emblematic nature of the diamond, historically launched and controlled by South African Diamond Cartel of De Beers (Twitchell). De Beers manipulated the demand for diamonds and instigated it as a status symbol. It then became a commoditised measurement of an individual’s worth and potential to love (Twitchell), a philosophy, also infused in the Tiffany & Co. brand ideology (Holt). Building on this, Tiffany’s further ritualised the justification of the material symbolisation of love through the idealistic connotations surrounding its assorted diamond ring experiences (Lee). This was projected through a strategic product placement and targeted advertising scheme, evident in dominant culture throughout the brand’s existence (Twitchell). Idealistically discussed by Purinton, this is also what exemplified, for consumers, the enticing cultural symbolism of the crystal rock from New York (Halasz et al.). Brand Essence: Experience & Iconography Prior to pop culture portraying the charming Tiffany’s brand imagery in mainstream media (Balmer et al.), Charles Tiffany directed the company’s ascent into luxury jewellery (Phillips et al.), fashioned the enticing Tiffany’s “store experience”, and initiated the experiential process of purchasing a diamond product. This immediately intertwined the imagery of Tiffany’s with New York, instigating the exclusivity of the experience for consumers (Holt). Tiffany’s provided customers with the opportunity to participate in an intricately branded journey, resulting in the diamond embodiment which declared their love most accurately; a token, packaged and presented within an iconic “Tiffany Blue” box (Klara). Aligning with Keller’s branding blueprint (7), this interactive process enabled Tiffany & Co. to build brand loyalty by consistently connecting with each of its consumers, regardless of their location in the world. The iconography of the coveted “blue box” was crafted when Charles Tiffany trademarked the shade Pantone No. 1837 (Osborne), which he coined for the year of Tiffany’s founding (Klara). Along with the brand promise of containing quality luxury jewellery, the box and that particular shade of blue instantly became a symbol of exclusivity, sophistication, and elegance, as it could only be acquired by purchasing jewellery from a Tiffany’s store (Rawlings). The exclusive packaging began to shape Tiffany’s global brand image, becoming a signifier of style and superiority (Phillips et al.), and eventually just as iconic as the jewellery itself. The blue box is still the strongest signifier of the brand today (Osborne). Ultimately, individuals want to participate in the myth of love, perfection and wealth (Arvidsson), encompassed exclusively by every Tiffany’s “blue box”. Furthermore, Tiffany’s has remained artistically significant within the luxury jewellery landscape since introducing its one-of-a-kind Tiffany Setting in 1886. It was the first jewellery store to fully maximise the potential of the natural beauty possessed of diamonds, while connotatively reflecting the natural beauty of every wearer (Phillips et al.). According to Jeffrey Bennett, the current Vice President of Tiffany & Co. New York, by precisely perching the “Tiffany Diamond” upon six intricately crafted silver prongs, the ring shines to its maximum capacity in a lit environment, while being closely secured to the wearer’s finger (Lee). Hence, the “Tiffany Setting” has become a universally sought after icon of extravagance and intricacy (Knight), and, as Bennett further describes, even today, the setting represents uncompromising quality and is a standard image of true love (Lee). Alluring Brand Imagery & Influential Representations in CultureEmpirical consumer research, involving two focus groups of married and unmarried, ethnically diverse Australian women and conducted in 2015, revealed that even today, individuals accredit their desire for Tiffany’s to the inspirational imagery portrayed in music, movies and television. Through participating in the Tiffany's from New York store experience, consumers are able to indulge in their fantasies of what it would feel like to be abroad and the endless potential a city such as New York could hold for them. Tiffany’s successfully disseminated its brand ideology into consumer culture (Purinton) and extended the brand’s significance for consumers beyond the 1960s through constant representation of the expensive business of love, lust and marriage within media culture. This is demonstrated in such films as Gentlemen Prefer Blondes (1953), Breakfast at Tiffany’s (1961), Sleepless in Seattle (1993), Legally Blonde (2001), Sweet Home Alabama (2002), The Great Gatsby (2013), and in the influential television shows, Gossip Girl (2007—2012), and Glee (2009—2015).The most important of these was the film Breakfast at Tiffany’s (1961), and the iconic embodiment of Capote’s (1958) Holly Golightly by actress Audrey Hepburn (Wasson). Hepburn’s (1961) portrayal of the emotionally evocative connotations of experiencing Tiffany’s in New York, as personified by her romantic dialogue throughout the film (Mae), produced the image that nothing bad could ever happen at a Tiffany’s store. Thus began the Tiffany’s from New York cultural phenomenon, which has been consistently reiterated in popular media culture ever since.Breakfast at Tiffany’s also represented a greater struggle faced by women in the 1960s (Dutt); that of gender roles, women’s place in society, and their desire for stability and freedom simultaneously (Sheehan). Due to Hepburn’s accurate characterisation of this struggle, the film enabled Tiffany & Co. to become more than just jewellery and a symbol of support (Torelli). Tiffany’s also allowed filming to take place inside its New York flagship store to which Capote’s narrative so idealistically alludes, further demonstrating its support for the 1960s women’s movement at an opportune moment in history (Torelli). Hence, Tiffany’s from New York became a symbol for the independent materialistic modern woman (Wasson), an ideal, which has become a repeated motif, re-imagined and embodied by popular icons (Knight) such as, Madonna in Material Girl (1985), and the characterisations of Carrie Bradshaw by Sarah Jessica Parker, Charlotte York by Kristin Davis (Sex and the City), and Donna Paulsen by Sarah Rafferty (Suits). The iconic television series Sex and the City, set in New York, boldly represented Tiffany’s as a symbol of friendship when a fellow female protagonist parted with her lavish Tiffany’s engagement ring to help her friend financially (Sex and the City). This was similarly reimagined in the popular television series Suits, also set in New York, where a protagonist is gifted two Tiffany Boxes from her female friend, as a token of congratulations on her engagement. This allowed Tiffany & Co. to add friendship to its symbolic repertoire (Manning), whilst still personifying a symbol of love in the minds of its consumers who were tactically also the target audiences of these television shows (Wharton).The alluring Tiffany’s image was presented specifically to a male audience through the first iconic Bond Girl named Tiffany Case in the novel Diamonds Are Forever (Fleming). The film adaption made its cultural imprint in 1971 with Sean Connery portraying James Bond, and paired the exaggerated brand of “007” with the evocative imagery of Tiffany’s (Spilski et al.). This served as a reminder to existing audiences about the powerful and seductive connotations of the blue box with the white ribbon (Osborne), as depicted by the enticing Tiffany Case in 1956.Furthermore, the Tiffany’s image was similarly established as a lyrical status symbol of wealth and indulgence (Knight). Portrayed most memorably by Marilyn Monroe’s iconic performance of Diamonds Are a Girl’s Best Friend (Gentlemen Prefer Blondes). Even though the song only mentions Tiffany’s lyrically twice (Vito et al.), through the celebrity affiliation, Monroe was introduced as a credible embodiment of Tiffany’s brand essence (Davis). Consequently, she permanently attached her image to that of the alluring Tiffany Diamonds for the target audience, male and female, past and present (Vito et al.). Exactly thirty-two years later, Monroe’s 1953 depiction was reinforced in consumer culture (Wharton) through an uncanny aesthetic and lyrical reimagining of the original performance by Madonna in her music video Material Girl (1985). This further preserved and familiarised the Tiffany’s image of glamour, luxury and beauty by implanting it in the minds of a new generation (Knight). Despite the shift in celebrity affiliation to a current cultural communicator (Arvidsson), the influential image of the Tiffany Diamond remains constant and Tiffany’s has maintained its place as a popular signifier of affluence and elegance in mainstream consumer culture (Jansson). The main difference, however, between Monroe’s and Madonna’s depictions is that Madonna aspired to be associated with the Tiffany’s brand image because of her appreciation for Marilyn Monroe and her brand image, which also intrinsically exuded beauty, money and glamour (Vito et al.). This suggests that even a musical icon like Madonna was influenced by Tiffany & Co.’s hold on consumer culture (Spilski et al.), and was able to inject the same ideals into her own loyal fan base (Fill). It is evident that Tiffany & Co. is thoroughly in tune with its target market and understands the relevant routes into the minds of its consumers. Kotler (113) identifies that the brand has demonstrated the ability to reach its separate audiences simultaneously, with an image that resonates with them on different levels (Manning). For example, Tiffany & Co. created the jewellery that featured in Baz Luhrmann’s 2013 cinematic adaption of F. Scott Fitzgerald’s novel, The Great Gatsby (1925). Through representing a signifier of love and lust induced by monetary possessions (Fitzgerald), Tiffany’s truthfully portrayed its own brand image and persuaded audiences to associate the brand with these ideals (Holt). By illustrating the romantic, alluring and powerful symbolism of giving or obtaining love, armed with a Tiffany’s Diamond (Mae), Tiffany’s validated its timeless, historical and cultural contemporary relevance (Greene).This was also most recently depicted through Tiffany & Co.’s Will You (2015) advertising campaign. The brand demonstrated its support for marriage equality, by featuring a real life same-sex couple to symbolise that love is not conditional and that Tiffany’s has something that signifies every relationship (Dicker). Thus, because of the brand’s rooted place in central media culture and the ability to appeal to the belief system of its target market while evolving with, and understanding its consumers on a level of metonymy (Manning), Tiffany & Co. has transitioned from a consumer product to a culturally relevant and globally sought-after iconic brand (Holt). ConclusionTiffany & Co.’s place-based association and representational reflection in music, film, and literature, assisted in the formation of loyal global communities that thrive on the identity building side effects associated with luxury brand affiliation (Banet-Weiser et al.). Tiffany’s enables its global target market to revel in the shared meanings surrounding the brand, by signifying a symbolic construct that resonates with consumers (Hall). Tiffany’s inspires consumers to eagerly exercise their brand trust and loyalty by independently ritualising the Tiffany’s from New York brand experience for themselves and the ones they love (Fill). Essentially, Tiffany & Co. successfully established its place in society and strengthened its ties to New York, through targeted promotions and iconographic brand dissemination (Nita).Furthermore, by ritualistically positioning the brand (Holt), surrounding and saturating it in existing cultural practices, supporting significant cultural actions and becoming a symbol of wealth, luxury, commitment, love and exclusivity (Phillips et al.), Tiffany’s has steadily built a positive brand association and desire in the minds of consumers near and far (Keller). As a direct result, Tiffany’s earned and kept its place as a culturally progressive brand in New York and around the world, sustaining its influence and ensuring its survival in today’s contemporary consumer society (Holt).Most importantly, however, although New York has become the anchor in every geographically exemplified Tiffany’s store experience in literature, New York has also become the allegorical anchor in the minds of consumers in actuality (Arvidsson). Hence, Tiffany & Co. has catered to the needs of its global target audience by providing it with convenient local stores abroad, where their love can be personified by purchasing a Tiffany Diamond, the ultimate symbol of authentic commitment, and where they can always experience an allusive piece of New York. ReferencesArvidsson, Adam. Brands: Meaning and Value in Media Culture. New York: Routledge, 2006.Balmer, John M.T., Stephen A. 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