Journal articles on the topic 'Short-run production functions'

Short-run and long-run derived irrigation water demand functions are estimated using shadow price data obtained from a profit maximization mathematical programming model. Crop and soil-type specific production functions are expressed in terms of applied irrigation water. Demand functions for two South Central Idaho counties are estimated using linear, semi-log, double-log, and Box-Cox transformation forms. Price elasticities, at the mean shadow prices, range from 0.8 to 1.2, 1.49 to 1.84, and 2.9 to 4.9, for short run, long run with deficit irrigation, and long run with no deficit irrigation, respectively.

In economics, a cost curve is a graph of the costs of production as a function of total quantity produced. In a free market economy, these curves are used by the entities to find the optimal point of production, where they make the highest profits. There exist several different types of cost curves, while each of them is relevant to a different area of economics. In the article, authors are focused on solution of cost-functions modelling, both short-run cost function and long-run cost function under circumstances of risk and uncertainty. Considerations about factors of risk and uncertainty are based on an irrefutable fact that companies are not separate entities taken out of surrounding environment; entities operate in global world where many random factors are influencing the processes in companies while the number of these random factors is ad infinitum. The fact that estimation of cost functions' parameters are realized from past data is the basis of the considerations about planning of future scope of production based on these functions. Especially for the long-run cost functions it is impossible to leave out all the random influences. Their quantification is derived from aposteriori probabilistic approach according to Bayesian Theorem.

There exists a highly interrelated relationship between energy, the environment and growth where the efficient management of this nexus is not only a must for sustainable development and human wellbeing but is also a basis for formulating sound economic policies harnessed with energy and environmental policies. Thus, this paper aims at investigating the causal relationships among renewable energy production, total energy consumption and economic growth for Turkey both in the long and short runs. The analyses are conducted by using the Johansen–Juselius co-integration test, the vector error correction model, Granger causality, impulse-response functions and variance decomposition for the period 1980–2016. Our findings obtained for the causal relationship between renewable energy and economic growth points to a bidirectional relationship both in the short and in long runs that promote feedback hypothesis, and it also reports a causal relationship running from energy consumption to economic growth both in the short and long runs, supporting the growth hypothesis. However, no consistent result could be obtained for the short run relationship from economic growth to energy consumption. These results indicate that increased renewable energy production and decreased energy consumption are vital for Turkey’s sustainable development.

This research is employed to examine the environmental issues embedded in Belt & Road Initiative (BRI), to be more specific: testify which of these hypotheses: Pollution Havens Hypothesis, Pollution Halo Hypothesis, Environmental Kuznets Curve is in accordance with the current development condition of BRI counties; whether there exists a bidirectional relationship among Ecological Footprint, Gross Domestic Production, Foreign Direct Investment (FDI) in Belt & Road Initiative countries. In this paper, Panel Vector Autoregression is utilized to analyze a dataset of 44-member countries in this initiative, ranges from 1990 to 2016, to empirically testify the environmental evaluation of this project. Results are analyzed on both long-run and short-run cases through Orthogonalized Impulse-Response Functions (IRF). This research displays a great heterogeneity among different target variables, FDI as a main variable of interest does not expose a bidirectional relationship with Ecological Footprint, only Ecological Footprint demonstrates robust influence on FDI. In addition, Pollution Havens Hypothesis is certified to be true for FDI and GDP among Belt & Road Initiative member countries.

Purpose An aggregate production function has been used in macroeconomic analysis for a long time, even though it seems that it is conceptually confusing and problematic. The purpose of this paper is to argue that the measurement problem related to the heterogenous capital input that exists in macroeconomics is also relevant to microeconomic market situations. Design/methodology/approach The author constructed a microeconomic market model to address both the problems of the measurement of the physical capital and of substitutability between labor and capital in the short run using two types of technologies: labor neutral and labor reducing. The author proposed that labor and physical capital inputs are complementary in the short run and can become substitutes only in the long run when the technology advances. Findings The author found that even if the technology improves at a fast rate over time, there are then diminishing returns of profits to technology and an upper limit to profits. Moreover, the author showed that under the labor-reducing technology, labor class earns more initially as technology improves, but their incomes start declining after some threshold level of passage of time. Originality/value The author cautioned the applied researcher that the estimated labor and capital coefficients of generalized Cobb–Douglas and constant elasticity of substitution of types of production functions could not be interpreted as partial elasticities of labor and capital if in reality the data come from fixed-proportions types of processes.

This research examines the hypothesis of money neutrality in Zimbabwe. After studying the relevant literature on the effects of changes in money supply on real variables, it outlines the research design for a macro-level study on the impact of changes in money supply on real variables. The hypothesis is that there is a positive relationship between money supply and real variables (GDP). The researcher used real GDP as the dependent variable whilst money supply (M3), interest rate and government expenditure were used as explanatory variables. A VAR model has been applied using the country’s macroeconomic data from 1990 to 2017 which was obtained from ZIMSTATS and World Bank Open Data website. Impulse response functions and variance decomposition were used to analyse the impact of the explanatory variables on real GDP. The results suggest that money positively affects real GDP in the short run but in the long it is insignificant in influencing real output. This means that in Zimbabwe, money is non-neutral in the long run, but it is neutral in the long run. Government expenditure has an insignificant influence on GDP both in the short and long run whilst interest rate has a positive effect on GDP in the long run. The recommendations which were given are that the government; should use expansionary monetary policy to increase real GDP, demonetise the bond note as well as the RTGS and adopting the Rand, curbing inflation through increasing production and ensuring transparency in the manner in which loans are given.

Financing is one of the main functions of Islamic banking. In its operational activities, Islamic banking channel most of its assets into financing. However, the financing trend in this sector always fluctuates from year to year and tends to decline. This study aims to analyze the factors that influence the financing of the business services sector in Islamic banking in Indonesia. This study uses time-series data which is the monthly data of the aggregate financial statements of Sharia Commercial Banks and Sharia Business Units in Indonesia. The analysis method used in this study is Autoregressive Distributed Lag (ARDL). The results showed that the variables that influence the financing of the business services sector in the short term are third party funds (DPK), equivalent rate of financing (ERP) and Industrial Production Index (IPI). Whereas in the long run, the variables that influence the financing of the business services sector are third party funds (DPK), return on assets (ROA), non-performance financing (NPF), Industrial Production Index (IPI). While the variable interest rates and exchange rates both in the short and long term do not affect the financing of the business services sector.

This working paper strives to measure analyze and the productivity of capital in the industrial sector in the case of the State of Sistan and Baloochestan over the period 1982-2009. Three production functions (Debertin, Cobb-Douglas and Transcendental logarithm (Translog)) are estimated by relevant variables such as labor, capital and GDP. Akaike, Schwarz information criteria and LR test indicate that the Cobb-Douglas model should be preferred. In order to avoid a spurious regressing Johansen test detects a cointegration. According to this detection the cointegration term (-0.46) indicates that the deviation from long-run equilibrium is rectified gradually through a series of partial short term adjustments after or so two years.The results of this function reveal that there's been a diminishing trend in productivity of capital since 1982.So it demonstrates the lack of attention to capital productivity. Thus we can conclude that Sistan suffers from the absence of comprehensive strategy and segregation between trade and production policies.

The forecasts for the world and the UK economy reported in this Review are produced using NIESR's global econometric model, NiGEM. The NiGEM model has been in use at the National Institute for forecasting and policy analysis since 1987, and is also used by a group of about 50 model subscribers, mainly in the policy community. Most countries in the OECD are modelled separately, and there are also separate models of China, India, Russia, Hong Kong, Taiwan, Brazil, South Africa, Estonia, Latvia, Lithuania, Slovenia, Romania and Bulgaria. The rest of the world is modelled through regional blocks so that the model is global in scope. All models contain the determinants of domestic demand, export and import volumes, prices, current accounts and net assets. Output is tied down in the long run by factor inputs and technical progress interacting through production functions, but is driven by demand in the short to medium term. Economies are linked through trade, competitiveness and financial markets and are fully simultaneous. Further details on the NiGEM model are available on http://nimodel.niesr.ac.uk/.

Purpose – This paper aims to empirically examine how shocks to monetary policy measures (the short-term nominal interest rate and broad money supply) affect macroeconomic aggregates, namely, output growth of the economy, national price levels and the nominal exchange rate. Design/methodology/approach – Johansen’s (1995) cointegration technique and error correction models are used to explore the long-run relationship among variables. To investigate how macroeconomic aggregates respond to a one-standard deviation shock to the underlying monetary measures, the authors estimate impulse response functions based on error correction models. The study uses quarterly data covering the period 1980-2009. Findings – The results provide evidence that there is a long-run stable relationship between the authors' monetary measures and the underlying macroeconomic aggregates. They also find that the industrial production adjusts at a faster speed relative to commodity prices and the exchange rate over the examined period. Further, they show that the short-term interest rate has relatively stronger effects on output as compared to broad money supply, whereas prices and exchange rates adjust more quickly to their long-run equilibrium when money supply is used as a measure of monetary policy. Finally, the authors find significant evidence of a price puzzle regardless of whether they consider a closed or an open economy case. However, an initial appreciation of exchange rate is observed in response to a one-standard deviation shock to money supply, indicating the overshooting hypothesis phenomenon. Practical implications – The findings of the analysis suggest that the interest rate-oriented monetary policy is more effective when the monetary authorities’ objective is to enhance the output growth of the economy. However, in case of inflation targeting, the broad money supply seems a more appropriate instrument. Our findings also suggest that the monetary policy has a significant role in stabilizing both real and nominal sectors of the economy. Originality/value – The main value of this paper is to examine the significance of monetary policy for a developing and relatively small open economy, namely, Pakistan. The authors use the error correction model, which improves the estimation by accounting for the long-run association. They also take into account the world oil prices by including the world commodity price index as a control variable in their empirical investigation. Finally, they utilize quarterly data rather than annual, and they cover a relatively recent sample period.

Purpose The importance of banking and insurance, as an important part of the financial system, has been well accepted in the growth literature. Acting as financial intermediaries they perform important functions that may contribute in economic growth. Addressing this issue, the purpose of this paper is to empirically examine the relationship between banking, insurance and economic growth in India in the post-liberalized era when the private sector was allowed to operate banking and insurance business. Design/methodology/approach In order to find the long-run and short-run relationship between banking, insurance and economic growth, the study uses the VAR-vector error correction model (VECM) along with Granger causality test to explore any causal relationship. Findings The results indicate that there is the long-term relationship between banking, insurance and economic growth and the causality results show a bi-directional relationship between insurance activity and economic growth; however, banking is not granger cause of insurance or economic growth rather it is economic growth that cause banking development. Research limitations/implications The only limitation to the study is the non-availability of monthly figures of GDP. The study therefore, as suggested by RBI, uses monthly data set of Index of Industrial Production to measure economic growth. Practical implications The findings of the study give policy directions to the policymakers to make strategies that are conducive toward boosting development in insurance in order to achieve the targeted economic growth. Originality/value This work is the first attempt to study the conjoint relationship between banking, insurance and economic growth on the Indian economy after the reforms were initiated in the financial sector.

Macroeconomic phenomena we observe are supposed to be analogous to conclusions derived from microeconomic models because macroeconomic phenomena are aggregation of data coming from microeconomic events. Since the firm plays the central role to produce output, I use growth theory of the firm to predict macroeconomic phenomena as below. First, the law of diminishing marginal product does not operate although marginal product derived from production function diminishes because the firm increases supply of output by scale growth without change in capital-labor ratio, not by change in capital-labor ratio under fixed scale. Thus, profit rate of rich (capital abundant) country is unnecessarily less than poor (labor abundant) country due to the law of diminishing marginal product so that capital does not outflow from rich country to poor country. Lucas’ paradox is solved. Second, labor share is equal to capital share in the long run if capital and labor can substitute each other perfectly because the optimal capital-labor ratio of the firm is equal to the ratio of wage rate to return rate on capital, K⁄N=w⁄γ. That is, labor is relatively more expensive (less productive) than capital if labor share is greater than 50 percent. Since labor share has been higher than 50 percent of GDP (i.e., there is room to substitute capital for labor) for centuries, growth theory of the firm explains the long term trend of declining labor share. Third, labor share is countercyclical and capital share is cyclical in the short run because the amplitude of investment and profit fluctuation is greater than employment and wage. Fourth, the production function that the firm uses to produce is increasing return to scale, which implies not only cyclical co-movement of investment, employment, productivity and factor prices domestically but also unbalanced trade and factor price differentiation internationally. Fifth, diminishing marginal revenue makes wage growth rate less than growth rate of labor productivity and growth rate of return rate on capital less than growth rate of capital productivity. Sixth, growth theory of the firm asserts principle of acceleration in macroeconomics. Seventh, profit rate rises when GDP grows. Thus, tendency of rate of profit to fall predicted by Karl Marx is wrong. In appendix, I propose to statistically approximate the true production function in real world by Taylor series because production functions economists have ever proposed (e.g., Cobb-Douglas) are not proved to be true by economists.

Purpose The Sertão, located in the Northeastern region of Brazil, is the most populous semi-arid region in the world. The region also faces the highest rates of poverty, food insecurity and climate risks in this country. Basic economic activities, such as extensive livestock and dairy farming, tend to be mainly affected by the increasing temperatures and recurrent droughts taking place in the past decades. This paper aims to analyze farmers’ responses to climatic variability in the Sertão. Design/methodology/approach Analyses are based on farm-level data of the Agricultural Census 2006 and on historical climate data gathered by meteorological stations. The climate impacts and the effectiveness of adaptive strategies are compared between three groups of farms, which discriminate different levels of social and environmental vulnerability. Four production functions are modeled (milk, cattle, goat and sheep) accounting for sample selectivity bias. Findings In response to increasing temperatures, farmers tend to shift their activities mainly to cattle and dairy farming. But the overall productivity tends to reduce with the recurrence of droughts. Decreasing precipitation affects mainly the production of milk of smallholder family farmers and the cattle herd of non-family farmers. Research limitations/implications Analyses do not account for short- and medium-run productive impacts of extreme droughts, which usually have devastating socioeconomic effects in the region. Originality/value Smallholder family farmers are the most vulnerable group who deserve more social and technical intervention, as they lack basic social and technological resources that can greatly improve their productivities and overcome the impacts of decreasing precipitation.

Purpose – There is plenty of individual-level evidence, based on the estimation of Mincerian equations, showing that better-educated individuals earn more. This is usually interpreted as a proof that education raises labour productivity. Some macroeconomists, analysing cross-country time series, also support the idea that the continuous expansion of education has contributed positively to growth. Surprisingly, most economists with an interest in human capital have neglected the level of the firm to study the education-productivity-wage nexus. And the few published works considering firm-level evidence are lacking a proper strategy to cope with the endogeneity problem inherent to the estimation production and wage functions. The purpose of this paper is to aim at providing estimates of the causal effect of education on productivity and wage labour costs. Design/methodology/approach – This paper taps into a rich, firm-level, Belgian panel database that contains information on productivity, labour cost and the workforce’s educational attainment to deliver estimates of the causal effect of education on productivity and wage/labour costs. Therefore, it exclusively resorts to within firm changes to deal with time-invariant heterogeneity bias. What is more, it addresses the risk of simultaneity bias (endogeneity of firms’ education-mix choices in the short run) using the structural approach suggested by Ackerberg et al. (2006), alongside more traditional system-GMM methods (Blundell and Bond, 1998) where lagged values of labour inputs are used as instruments. Findings – Results suggest that human capital, in particular larger shares of university-educated workers inside firms, translate into significantly higher firm-level labour productivity, and that labour costs are relatively well aligned on education-driven labour productivity differences. In other words, the authors find evidence that the Mincerian relationship between education and individual wages is driven by a strong positive link between education and firm-level productivity. Originality/value – Surprisingly, most economists with an interest in human capital have neglected the level of the firm to study the education-productivity-pay nexus. Other characteristics of the workforce, like gender or age have been much more investigated at the level of the firm by industrial or labour economists (Hellerstein et al., 1999; Aubert and Crépon, 2003; Hellerstein and Neumark, 2007; Vandenberghe, 2011a, b, 2012; Rigo et al., 2012; Dostie, 2011; van Ours and Stoeldraijer, 2011). At present, the small literature based on firm-level evidence provides some suggestive evidence of the link between education, productivity and pay at the level of firms. Examples are Hægeland and Klette (1999); Haltiwanger et al. (1999). Other notable papers examining a similar question are Galindo-Rueda and Haskel (2005), Prskawetz et al. (2007) and Turcotte and Whewell Rennison (2004). But, despite offering plausible and intuitive results, many of the above studies essentially rely on cross-sectional evidence and most of them do not tackle the two crucial aspects of the endogeneity problem affecting the estimation of production and wage functions (Griliches and Mairesse, 1995): first, heterogeneity bias (unobserved time-invariant determinants of firms’ productivity that may be correlated to the workforce structure) and second, simultaneity bias (endogeneity in input choice, in the short-run, that includes the workforce mix of the firm). While the authors know that labour productivity is highly heterogeneous across firms (Syverson, 2011), only Haltiwanger et al. (1999) control for firm level-unobservables using firm-fixed effects. The problem of simultaneity has also generally been overlooked. Certain short-term productivity shocks affecting the choice of labour inputs, can be anticipated by the firms and influence their employment decision and thus the workforce mix. Yet these shocks and the resulting decisions by firms’ manager are unobservable by the econometrician. Hægeland and Klette (1999) try to solve this problem by proxying productivity shocks with intermediate goods, but their methodology inspired by Levinsohn and Petrin (2003) suffers from serious identification issues due to collinearity between labour and intermediate goods (Ackerberg et al., 2006).

Social innovations are activities aiming at implementation of social objectives, including mainly the improvement of life of individuals and social groups, together with public policy and management objectives. The essay indicates and discusses the most important contemporary problems, solving of which requires social innovations. Social innovations precondition the progress of civilisation. The world needs not only new technologies, but also new solutions of social and institutional nature that would be conducive to achieving social goals. Social innovations are experimental social actions of organisational and institutional nature that aim at improving the quality of life of individuals, communities, nations, companies, circles, or social groups. Their experimental nature stems from the fact of introducing unique and one-time solutions on a large scale, the end results of which are often difficult to be fully predicted. For example, it was difficult to believe that opening new labour markets for foreigners in the countries of the European Union, which can be treated as a social innovation aiming at development of the international labour market, will result in the rapid development of the low-cost airlines, the offer of which will be available to a larger group of recipients. In other words, social innovations differ from economic innovations, as they are not about implementation of new types of production or gaining new markets, but about satisfying new needs, which are not provided by the market. Therefore, the most important distinction consists in that social innovations are concerned with improving the well-being of individuals and communities by additional employment, or increased consumption, as well as participation in solving the problems of individuals and social groups [CSTP, 2011]. In general, social innovations are activities aiming at implementation of social objectives, including mainly the improvement of life of individuals and social groups together with the objectives of public policy and management [Kowalczyk, Sobiecki, 2017]. Their implementation requires global, national, and individual actions. This requires joint operations, both at the scale of the entire globe, as well as in particular interest groups. Why are social innovations a key point for the progress of civilisation? This is the effect of the clear domination of economic aspects and discrimination of social aspects of this progress. Until the 19th century, the economy was a part of a social structure. As described by K. Polanyi, it was submerged in social relations [Polanyi, 2010, p. 56]. In traditional societies, the economic system was in fact derived from the organisation of the society itself. The economy, consisting of small and dispersed craft businesses, was a part of the social, family, and neighbourhood structure. In the 20th century the situation reversed – the economy started to be the force shaping social structures, positions of individual groups, areas of wealth and poverty. The economy and the market mechanism have become independent from the world of politics and society. Today, the corporations control our lives. They decide what we eat, what we watch, what we wear, where we work and what we do [Bakan, 2006, p. 13]. The corporations started this spectacular “march to rule the world” in the late 19th century. After about a hundred years, at the end of the 20th century, the state under the pressure of corporations and globalisation, started a gradual, but systematic withdrawal from the economy, market and many other functions traditionally belonging to it. As a result, at the end of the last century, a corporation has become a dominant institution in the world. A characteristic feature of this condition is that it gives a complete priority to the interests of corporations. They make decisions of often adverse consequences for the entire social groups, regions, or local communities. They lead to social tensions, political breakdowns, and most often to repeated market turbulences. Thus, a substantial minority (corporations) obtain inconceivable benefits at the expense of the vast majority, that is broad professional and social groups. The lack of relative balance between the economy and society is a barrier to the progress of civilisation. A growing global concern is the problem of migration. The present crisis, left unresolved, in the long term will return multiplied. Today, there are about 500 million people living in Europe, 1.5 billion in Africa and the Middle East, but in 2100, the population of Europe will be about 400 million and of the Middle East and Africa approximately 4.5 billion. Solving this problem, mainly through social and political innovations, can take place only by a joint operation of highly developed and developing countries. Is it an easy task? It’s very difficult. Unfortunately, today, the world is going in the opposite direction. Instead of pursuing the community, empathic thinking, it aims towards nationalism and chauvinism. An example might be a part of the inaugural address of President Donald Trump, who said that the right of all nations is to put their own interests first. Of course, the United States of America will think about their own interests. As we go in the opposite direction, those who deal with global issues say – nothing will change, unless there is some great crisis, a major disaster that would cause that the great of this world will come to senses. J.E. Stiglitz [2004], contrary to the current thinking and practice, believes that a different and better world is possible. Globalisation contains the potential of countless benefits from which people both in developing and highly developed countries can benefit. But the practice so far proves that still it is not grown up enough to use its potential in a fair manner. What is needed are new solutions, most of all social and political innovations (political, because they involve a violation of the previous arrangement of interests). Failure to search for breakthrough innovations of social and political nature that would meet the modern challenges, can lead the world to a disaster. Social innovation, and not economic, because the contemporary civilisation problems have their roots in this dimension. A global problem, solution of which requires innovations of social and political nature, is the disruption of the balance between work and capital. In 2010, 400 richest people had assets such as the half of the poorer population of the world. In 2016, such part was in the possession of only 8 people. This shows the dramatic collapse of the balance between work and capital. The world cannot develop creating the technological progress while increasing unjustified inequalities, which inevitably lead to an outbreak of civil disturbances. This outbreak can have various organisation forms. In the days of the Internet and social media, it is easier to communicate with people. Therefore, paradoxically, some modern technologies create the conditions facilitating social protests. There is one more important and dangerous effect of implementing technological innovations without simultaneous creation and implementation of social innovations limiting the sky-rocketing increase of economic (followed by social) diversification. Sooner or later, technological progress will become so widespread that, due to the relatively low prices, it will make it possible for the weapons of mass destruction, especially biological and chemical weapons, to reach small terrorist groups. Then, a total, individualized war of global reach can develop. The individualisation of war will follow, as described by the famous German sociologist Ulrich Beck. To avoid this, it is worth looking at the achievements of the Polish scientist Michał Kalecki, who 75 years ago argued that capitalism alone is not able to develop. It is because it aggressively seeks profit growth, but cannot turn profit into some profitable investments. Therefore, when uncertainty grows, capitalism cannot develop itself, and it must be accompanied by external factors, named by Kalecki – external development factors. These factors include state expenses, finances and, in accordance with the nomenclature of Kalecki – epochal innovations. And what are the current possibilities of activation of the external factors? In short – modest. The countries are indebted, and the basis for the development in the last 20 years were loans, which contributed to the growth of debt of economic entities. What, then, should we do? It is necessary to look for cheaper solutions, but such that are effective, that is breakthrough innovations. These undoubtedly include social and political innovations. Contemporary social innovation is not about investing big money and expensive resources in production, e.g. of a very expensive vaccine, which would be available for a small group of recipients. Today’s social innovation should stimulate the use of lower amounts of resources to produce more products available to larger groups of recipients. The progress of civilisation happens only as a result of a sustainable development in economic, social, and now also ecological terms. Economic (business) innovations, which help accelerate the growth rate of production and services, contribute to economic development. Profits of corporations increase and, at the same time, the economic objectives of the corporations are realised. But are the objectives of the society as a whole and its members individually realised equally, in parallel? In the chain of social reproduction there are four repeated phases: production – distribution – exchange – consumption. The key point from the social point of view is the phase of distribution. But what are the rules of distribution, how much and who gets from this “cake” produced in the social process of production? In the today’s increasingly global economy, the most important mechanism of distribution is the market mechanism. However, in the long run, this mechanism leads to growing income and welfare disparities of various social groups. Although, the income and welfare diversity in itself is nothing wrong, as it is the result of the diversification of effectiveness of factors of production, including work, the growing disparities to a large extent cannot be justified. Economic situation of the society members increasingly depends not on the contribution of work, but on the size of the capital invested, and the market position of the economic entity, and on the “governing power of capital” on the market. It should also be noted that this diversification is also related to speculative activities. Disparities between the implemented economic and social innovations can lead to the collapse of the progress of civilisation. Nowadays, economic crises are often justified by, indeed, social and political considerations, such as marginalisation of nation states, imbalance of power (or imbalance of fear), religious conflicts, nationalism, chauvinism, etc. It is also considered that the first global financial crisis of the 21st century originated from the wrong social policy pursued by the US Government, which led to the creation of a gigantic public debt, which consequently led to an economic breakdown. This resulted in the financial crisis, but also in deepening of the social imbalances and widening of the circles of poverty and social exclusion. It can even be stated that it was a crisis in public confidence. Therefore, the causes of crises are the conflicts between the economic dimension of the development and its social dimension. Contemporary world is filled with various innovations of economic or business nature (including technological, product, marketing, and in part – organisational). The existing solutions can be a source of economic progress, which is a component of the progress of civilisation. However, economic innovations do not complete the entire progress of civilisation moreover, the saturation, and often supersaturation with implementations and economic innovations leads to an excessive use of material factors of production. As a consequence, it results in lowering of the efficiency of their use, unnecessary extra burden to the planet, and passing of the negative effects on the society and future generations (of consumers). On the other hand, it leads to forcing the consumption of durable consumer goods, and gathering them “just in case”, and also to the low degree of their use (e.g. more cars in a household than its members results in the additional load on traffic routes, which results in an increase in the inconvenience of movement of people, thus to the reduction of the quality of life). Introduction of yet another economic innovation will not solve this problem. It can be solved only by social innovations that are in a permanent shortage. A social innovation which fosters solving the issue of excessive accumulation of tangible production goods is a developing phenomenon called sharing economy. It is based on the principle: “the use of a service provided by some welfare does not require being its owner”. This principle allows for an economic use of resources located in households, but which have been “latent” so far. In this way, increasing of the scope of services provided (transport, residential and tourist accommodation) does not require any growth of additional tangible resources of factors of production. So, it contributes to the growth of household incomes, and inhibition of loading the planet with material goods processed by man [see Poniatowska-Jaksch, Sobiecki, 2016]. Another example: we live in times, in which, contrary to the law of T. Malthus, the planet is able to feed all people, that is to guarantee their minimum required nutrients. But still, millions of people die of starvation and malnutrition, but also due to obesity. Can this problem be solved with another economic innovation? Certainly not! Economic innovations will certainly help to partially solve the problem of nutrition, at least by the new methods of storing and preservation of foods, to reduce its waste in the phase of storage and transport. However, a key condition to solve this problem is to create and implement an innovation of a social nature (in many cases also political). We will not be able to speak about the progress of civilisation in a situation, where there are people dying of starvation and malnutrition. A growing global social concern, resulting from implementation of an economic (technological) innovation will be robotisation, and more specifically – the effects arising from its dissemination on a large scale. So far, the issue has been postponed due to globalisation of the labour market, which led to cheapening of the work factor by more than ten times in the countries of Asia or South America. But it ends slowly. Labour becomes more and more expensive, which means that the robots become relatively cheap. The mechanism leading to low prices of the labour factor expires. Wages increase, and this changes the relationship of the prices of capital and labour. Capital becomes relatively cheaper and cheaper, and this leads to reducing of the demand for work, at the same time increasing the demand for capital (in the form of robots). The introduction of robots will be an effect of the phenomenon of substitution of the factors of production. A cheaper factor (in this case capital in the form of robots) will be cheaper than the same activities performed by man. According to W. Szymański [2017], such change is a dysfunction of capitalism. A great challenge, because capitalism is based on the market-driven shaping of income. The market-driven shaping of income means that the income is derived from the sale of the factors of production. Most people have income from employment. Robots change this mechanism. It is estimated that scientific progress allows to create such number of robots that will replace billion people in the world. What will happen to those “superseded”, what will replace the income from human labour? Capitalism will face an institutional challenge, and must replace the market-driven shaping of income with another, new one. The introduction of robots means microeconomic battle with the barrier of demand. To sell more, one needs to cut costs. The costs are lowered by the introduction of robots, but the use of robots reduces the demand for human labour. Lowering the demand for human labour results in the reduction of employment, and lower wages. Lower wages result in the reduction of the demand for goods and services. To increase the demand for goods and services, the companies must lower their costs, so they increase the involvement of robots, etc. A mechanism of the vicious circle appears If such a mass substitution of the factors of production is unfavourable from the point of view of stimulating the development of the economy, then something must be done to improve the adverse price relations for labour. How can the conditions of competition between a robot and a man be made equal, at least partially? Robots should be taxed. Bill Gates, among others, is a supporter of such a solution. However, this is only one of the tools that can be used. The solution of the problem requires a change in the mechanism, so a breakthrough innovation of a social and political nature. We can say that technological and product innovations force the creation of social and political innovations (maybe institutional changes). Product innovations solve some problems (e.g. they contribute to the reduction of production costs), but at the same time, give rise to others. Progress of civilisation for centuries and even millennia was primarily an intellectual progress. It was difficult to discuss economic progress at that time. Then we had to deal with the imbalance between the economic and the social element. The insufficiency of the economic factor (otherwise than it is today) was the reason for the tensions and crises. Estimates of growth indicate that the increase in industrial production from ancient times to the first industrial revolution, that is until about 1700, was 0.1-0.2 per year on average. Only the next centuries brought about systematically increasing pace of economic growth. During 1700- 1820, it was 0.5% on an annual average, and between 1820-1913 – 1.5%, and between 1913-2012 – 3.0% [Piketty, 2015, p. 97]. So, the significant pace of the economic growth is found only at the turn of the 19th and 20th century. Additionally, the growth in this period refers predominantly to Europe and North America. The countries on other continents were either stuck in colonialism, structurally similar to the medieval period, or “lived” on the history of their former glory, as, for example, China and Japan, or to a lesser extent some countries of the Middle East and South America. The growth, having then the signs of the modern growth, that is the growth based on technological progress, was attributed mainly to Europe and the United States. The progress of civilisation requires the creation of new social initiatives. Social innovations are indeed an additional capital to keep the social structure in balance. The social capital is seen as a means and purpose and as a primary source of new values for the members of the society. Social innovations also motivate every citizen to actively participate in this process. It is necessary, because traditional ways of solving social problems, even those known for a long time as unemployment, ageing of the society, or exclusion of considerable social and professional groups from the social and economic development, simply fail. “Old” problems are joined by new ones, such as the increase of social inequalities, climate change, or rapidly growing environmental pollution. New phenomena and problems require new solutions, changes to existing procedures, programmes, and often a completely different approach and instruments [Kowalczyk, Sobiecki, 2017].

Green gram (Vigna radiata) is considered the chief legume in Pakistan. Thus, current study was conducted to examine the ameliorating effect of phytohormones pre-treatments under salt stress on proteome profile of green gram by sodium-dodecyl-sulphate-polyacrylamide gel electrophoresis (SDS-PAGE). The soluble green gram seedlings proteins were resolved on 4% stacking and 12% resolving gels. The SDS-PAGE resolved 24 polypeptide bands ranging from 200 to 17kDa. Among these, 12 out of 24 bands of proteins were essentials house-keeping or growth proteins of green grams. While, 120, 114.6, 51.8, 29.1, and 22.8 kDa bands were over-expressed under 50 to 350mM salt with phytohormones treatments. The others 104.5 kDa, 99.8 kDa, 95.3 kDa, 91.0 kDa, 55 kDa, 46 kDa, and 17kDa bands were related to the GAᴣ, IAA, and SA induced tolerance. Overall 120 kDa, 114.6 kDa, 104.5 kDa, 99.8, 95.3 kDa, 51.8 kDa, 29.1 kDa and 22.8kDa bands were first time identified in the current study. The information retrieved from NCBI protein database, the resolved peptides were principally belonging to 7S and 8S vicilin, 2S, 8S, 11S, and 16.5S globulins. It is determined that seed priming with SA enhanced tolerance in green gram by rapidly synthesizing stress alleviating peptides.Key word: Cluster analysis, dendrogram, mungbean, salt stress, SDS-PAGEINTRODUCTIONVarious world-wide health concerning organization recommended the use of high graded plant protein such as legumes to prevent the risk of metabolic disorder (Hou et al., 2019). Legumes are most important protein crop on the earth. Among the legumes, the green gram is the major pulses. Its seeds are rich in superior quality storage protein, which account 85% of the total protein while, another 15% have not been broadly studied (Yi-Shen et al., 2018). The soluble storage protein comprises of 60% globulins, 25% albumin and 15% prolamins. Globulins are further divided into 3.4% basic-type (7S), 7.6% legumin-type (11S), and 89% vicilin-type (8S) (Mendoza et al., 2001; Itoh et al., 2006). Other than proteins, the green gram seeds also contain starch, fiber, phenolic compound, saponins, vitamins, calcium zinc, potassium, folate, magnesium, manganese and very low in fat that made it meager man’s meat (Hou et al., 2019). It is also a good source of green manure and fodder (El-Kafafi et al., 2015). Its root has ability to fix 30 to 50 Kg/ha atmospheric nitrogen in the soil which is essential for maintaining soil fertility (Chadha, 2010). The green gram is the valuable and the major Rabi pulse crop of Pakistan. Its cultivation area in 2016-2017 was about 179,000 hectares with seed yield of 130,000 tones. In comparison during 2017-2018, it was cultivated on 161,800 hectares land with 118,800 tones seed yield (GOP, 2018). One of the reasons of this 9% decrease in both land and productivity is the shortage of irrigated land due to soil salinity. The salinity induce oxidative bust in the mungbean cells, caused by responsive oxygen species (ROS) such as hydrogen peroxide, singlet oxygen, hydroxyl radical and superoxide radical. The ROS create hindrance in various metabolic processes of plant via interacting with macromolecules like proteins (Alharby et al., 2016). However, phytohormones like gibberellic acid (GAᴣ), indole acetic acid (IAA), and salicylic acid (SA) take part in the biosynthesis of salt tolerance proteins under salinity. These salt tolerance proteins acclimate plants under salinity stress. Application of biotechnology plays a significant role in agriculture (Khan et al., 2017). Therefore, production of particular proteins under salt stress is a specific response of cell which can be analyzed by sodium dodecyl sulphate polyacrylamide gel electrophoresis (SDS-PAGE). SDS-PAGE is the simple, valid, and cost-effective biochemical marker (Mushtaq et al., 2018). This marker has been widely used to determine the extent of evolutionary variations in crops (El-Kafafi et al., 2015).OBJECTIVES The present study was directed first time with the aim to investigate the toxic effect of sodium chloride (0-350 mM) and stress acclimation by pre-treatment of GAᴣ, IAA, and SA on the proteome profile of NM-92 cultivar of a Pakistani green gram.MATERIALS AND METHODSThe present study was replicated thrice in the plant laboratory of Department of Genetics, Faculty of Science, and University of Karachi. The seeds of mung bean cultivar NM-92 were acquired from National Agricultural Research Centre (NARC), Islamabad. These freshly collected 15 seedsˉ1 treatment / replication were divided into two sets. The first was named as sodium chloride (SC) stress treatments were imbibed in sterile distilled water (DW) whereas, second set soaked in gibberellic acid (GAᴣ) (BDH Chemicals, England), indole acetic acid (IAA) (Fluka, Switzerland), and salicylic acid (SA) (J.T. Baker, Holland) in the separate beaker for 24 hours under dark condition. After 24 hours, given ample time to both the sets at room temperature. After recovery, all 20 treatments were sown in the 150 X 30 mm sized petri-dishes containing 0, 50, 150, 250, and 350 millimolar (mM) sodium chloride solution (Fisher Scientific, UK) for 72 hours.Protein extraction: Protein extraction was done by taking 0.3g of seedlings in an ice chilled mortar and crushed by adding 600µL 0.2 M Tris-HCl buffer having pH 7.5 contained 5% SDS (w/v) and 5% 2-mercaptoethanol (v/v). The homogenate was incubated at 0oC for 30 min., boiled in the water bath for 3 min. at 100oC. Samples were centrifuged in Heraeus Biofuge D-37520, Germany for 30 min. at 8000 rpm. The protein supernatant was saved at below 0°C for quantitative and qualitative determination with minor modifications. The total soluble protein content of the samples was estimated via “Bovine Serum Albumin (BSA) standard curve” and explicit in µg protein milligramˉ1 fresh weight of mung seedlings.Bovine serum albumin standard curve (2000 μg/mL): Total protein standard curve was made by dissolving 0.05g of Bovine Serum Albumin (BSA) in 25mL of distilled water. Ten serial dilutions were made from 0.1 mL to 1mL by BSA solution then performed Lowry. A standard curve of total proteins was plotted by taking BSA absorbance at Y-axis and 2000 μg BSA / mL at X-axisSample preparation for SDS-PAGE: For qualitative assessment of total proteins; the 35μL of saved protein supernatant was combined with 15μL of sample diluting buffer (SDB). The SDB was made up of 0.0625 M Tris-HCl pH 6.8 with 2% of SDS, 10% of glycerol, 0.003% of bromophenol blue dye and 5% of 2-mercaptoethanol. Boil the 50μL protein SDB supernatant at 100oC in water bath for 3 min., centrifuged at 6000 rpm for 4 min. The supernatant was loaded on SDS-PAGE gel with the given formulae. The SDS- PAGE: Total proteins were fractionated via SDS-PAGE with 4% stacking and 12% resolving gel. The resolving gel of 12% was made by taking 6mL solution A, 1.8 mL 3 M Tris 1 M HCl buffer pH 8.8, 144μL 10% SDS, 5.74 mL sterile distilled water, 720μL 1.5% ammonium persulphate (APS) in deionized water and 10μL TEMED. While, stacking was composed of 1.25mL of solution A, 2.5mL of 0.5M Tris 1M HCl buffer pH 6.8, 100μL 10% SDS, 1.8 mL of distilled water, 500μL 1.5% APS and 12μL TEMED. Solution A was prepared by conjoining 30% acrylamide and 0.8% N, N’-methylene-bisacrylamide in deionized water. To avoid polymerization in the beaker; the prepared solution was quickly poured into the 3 mm thick gel plates after adding TEMED. The stacking was lined over resolving gel, then combs were inserted between the gel plates of SCIE-PLAS TV-100 separation system, UK, and allowed to polymerize for ½ an hour. After polymerization gel was placed in the tank which were filled with Tris-Glycine buffer (electrode buffer) pH 8.4 then combs were removed. The electrode buffer contained 0.3% Tris, 1.41% Glycine and 0.1% SDS in 2000mL d/w. The gel was pre-run for 15 min. at 60 volts and 120 mA currents. The prepared SDS-PAGE samples were loaded in wells with BlueStepTM Broad Range Protein Marker, AMRESCO, USA as standard and run at 60 volts & 120 mA for about 45 min. When samples entered in resolving gel, and then gave 100 volts and 200 mA currents for around 2.5 hours. Furthermore, electrophoresis was carried out at a constant watt.The Gel was washed with 30% ethanol on Uni Thermo Shaker NTS-1300 EYELA, Japan at the constant shaking for 30 min. Then gels were placed in 10% glacial acetic acid in 50% methanol solution (Fixative) for 24 hours. SDS Gel was stained until protein bands were visible thereat placed as 5% of Methanol in 7.5% acetic acid glacial solution to destain the bands background. SDS-PAGE stain composed of 0.125% coomassie brilliant blue R-250 dissolved in 40% of Methanol and 7% acetic acid glacial solution. The stain was stirred on Magnetic stirrer & hot plate M6/1, Germany for 6-10 hours before used. Photographs were taken by Sanyo digital camera VPC-T1284BL and bands were scored through numbering pattern. Gels preserved in 10% acetic acid solution at 4°C.Interpretation of bands and data analysis: The total soluble protein bands relative mobility calculated by below formulae and Dendrogram was constructed via SPSS v. 20Where,F=(Migrated distance of protein band)/(Migrated distance of dye front)Slop=(Log MW of protein marker lower limit band–log〖MW of protein marker upper limit band )/(RF protein marker lower limit band –RF of protein marker upper limit band)RESULTS:The total soluble proteins extracted from green gram were perceived by SDS-PAGE Blue StepTm broad range biochemical markers. The protein-based marker was used to evaluate the toxic effect of sodium chloride along with pre-treatments of GAᴣ, IAA, and SA on proteome assay. In the current work, seedlings total soluble proteome resolved 24 polypeptide bands ranging from 200 to 17.1 kDa were recognized by using SDS-PAGE. The figure 1 showed Dendrogram assay, which classified the 20 treatments of SC, GAᴣ, IAA and SA into two major clusters where, the cluster I was the largest one (figure 1). Cluster I consisted of 15 treatments that further divided into I-A, and I-B. The pre-treatments of SC50+SA, SC150+SA, SC250+SA, and SC350+IAA were grouped together into C-1 of sub-cluster I-A. The C-2 of sub-cluster I-A, pre-treatment SC350+SA was most diverse among 20 treatments. The C-1 treatments showed 99% homology when compared with each other while, it was 97% similar with C-2. The sub-cluster I-B comprised another 10 treatments, SC0+GAᴣ, SC50+GAᴣ, SC150+GAᴣ, SC250+GAᴣ, SC350+GAᴣ, SC0+IAA, SC50+IAA, SC150+IAA, SC250+IAA, and SC0+SA that were also 99% similar for total proteins. Sub-cluster I-B pre-treatments was exhibiting 94% homology with the sub-cluster I-A. The second cluster was the smallest one that was divided into two sub-clusters, II-A and II-B. The II-A was comprised of SC50, SC150, and SC250 while, sub-cluster II-B consisted of SC0 and SC350. Within each sub-cluster, pre-treatments expressed 99% homology whereas, II-A was 97 different from II-B. Furthermore, cluster I showed 75% similarities with cluster II (figure 1). The seedlings storage proteome profile of green gram was shown in table 1.The results showed that 120kDa, 114.6 kDa, 51.8 kDa, 29.1 kDa and 22.8 kDa proteins bands were not induced at 0 mM SC, GAᴣ, IAA, and SA. The table 1 depicted the presence of 120 kDa and 114.6 kDa bands only at 350 mM SC level with all phytohormones treatments. Similarly, 51.8 kDa protein bands were appearing at 150SC, 250SC and 350SC stress with phytohormones. Based on the information collected from the NCBI protein database, this peptide was related to the 8S globulin alpha subunits. The two other, 7S globulins sub-units having 29.1kDa and 22.8 kDa molecular weights bands were synthesized under 50mM, 150mM, 250mM, 350mM SC stress with phytohormones. Concerning protein polypeptide of molecular weight 104.5 kDa, 99.8 kDa, 91.0 kDa, 55.0 kDa, and 46.0 kDa, those were induced by GAᴣ, IAA and SA at 0 to 350 mM SC. While, 17kDa protein band was appearing in SA, and IAA treated samples and 95.3kDa band was only present in SA treatment. Other 12 protein bands were present in all treatments proved as house-keeping proteins of green gram (table 1).DISCUSSIONThe SDS-PAGE profiling for proteome is the reliable and applied biochemical approach that has been used as biochemical marker in various crop differentiation, and characterization. In the current study, first time SDS-PAGE was utilized to investigate the impact of GAᴣ, IAA, and SA pre-soaking on green gram under salt toxicity. The salt toxicity adversely affects all seed, seedling, and plant metabolic process (Parveen et al., 2016). At salt toxicity, the endogenous GAᴣ, IAA, and SA levels markedly decrease (El-Khallal et al., 2009). In such condition, exogenous application of GAᴣ, IAA, and SA enhance seedlings survival rate by increasing synthesis of seed storage proteins. Likewise, our Dendrogram characterization based on 20 treatments showed significant diversity under 0 to 350 mM SC stress. The salicylic acid treatments were grouped together except SC0+SA treatment, exhibiting a close relationship, which proved its acclimating role under salt stress. These findings will help plant breeder toward enhancing food quality and quantity of green gram in future breeding programme on saline sodic land.The SDS-PAGE assay revealed 200. kDa, 109.4 kDa, 77 kDa, 68 kDa, 49 kDa, 38 kDa, 33 kDa, 26 kDa, 24 kDa, 22 kDa, 21 kDa and 19 kDa fractions as essential green gram proteins. Among these, 68 kDa, 49 kDa, 33 kDa, 26 kDa, 24 kDa and 21 kDa peptides were seed biotinylated isoform protein (Riascos et al., 2009), putative NADH-ubiquinone oxidoreductase subunit H (Gostinčar et al., 2019), heat shock protein 33 (Hamidian et al., 2015), globulin protein, seed coat / maturation protein (Dhaubhadel et al., 2005), and protein for dimerization. While, 22 kDa proteins belonged to the class of prolamin alpha zein Z1C1_2, Z1C1_4, and Z1C1_8 precursors, and 19kDa peptide was related with Z1A1_2, Z1A2_2, and Z1B_6 precursors (Miclaus et al., 2011). Further, the 91 kDa peptide is sucrose synthase SS1 protein, and 77kDa protein is the NADPH-cytochrome P450 reductase (Wang et al., 2004). Also, the phosphatase-associated two other proteins having 46 and 55 kDa molecular weight were reported earlier in Mucuna pruriens. Hameed et al. (2012) and Malviya et al. (2008) found 55 and 46kDa peptides as 7S vicilin small sub-units and 17kDa as 11S globulins sub-unit in the studied Vigna radiata. Some other molecular weight proteome such as 68 kDa and 49kDa are 7S vicilin, 33kDa is 8S vicilin, 38 and 26kDa 8S globulins, 24kDa 11S globulins, and 22kDa 16.5S globulins. These proteins required for germination and seed establishment of green gram plant (Hameed et al., 2012).The vast accumulation of 23kDa and 22kDa peptides under salt stress by salicylic acid, were reported previously in the mangrove Bruguiera parviffora and Zea mays (El-Khallal et al., 2009). Correspondingly, El-Kafafi et al. (2015) reported the presence of 115kDa, 23kDa, and 22kDa bands in the salt tolerant lines of green gram. These proteomes induced under salt stress may play a pivotal part in the stress acclimation and osmotic adjustment. Similarly, the induction of 104 kDa and 100kDa MW polypeptide by SC stress in the salt tolerant genotypes of green gram indicated the functional role of phytohormones in various metabolic and defense response El-Kafafi et al. (2015); Alharby et al. (2016), El-Khallal et al. (2009), Qados (2010). Ali et al. (2007), Alharby et al. (2016), and El-Kafafi et al. (2015) observed 17kDa, 26kDa, 33kDa and 77kDa bands involving in salt tolerance and can be considered as a positive biochemical marker for salt stress. Further, 26 kDa MW peptide also functions as osmotin under the salt stress that involved in enhancing the accumulation of glycine betaine and proline in the cells. Hence, proteome assay of green gram showed that GAᴣ, IAA, and SA could regulate the expression of salt stress proteins that are anticipated to play a crucial part in the salt tolerance mechanism. Likewise, the involvement of phytohormones in the induction of changes in the proteome profile pattern was attributed to their part in managing cell division by regulating some genes of apical meristems.CONCLUSIONFinally, the results revealed the presence of the ten new bands with MW of 200kDa, 120 kDa, 114.6 kDa, 109.4kDa, 104.5kDa, 99.8kDa, 95.3kDa, 51.8kDa, 29.1kDa and 22.8kDa have not reported previously under salt stress with phytohormones treatments in green gram. Furthermore, it was observed that phytohormones alleviate the negative impact of salt stress on green gram by enhancing synthesis of salt defense polypeptides. Hence, higher accumulation of proteins was observed in salicylic acid treated seedlings. Thus, present work recommended the pre-soaking of phytohormones to overcome the toxic impact of sodium chloride on green gram. Further research is needed on a biomolecular level to reveal the mechanism of signalling pathways under sever salt stress.CONFLICT OF INTERESTBoth authors have declared that no disagreement of interest regarding this research.REFERENCES Alharby, H. F., E. M. Metwali, M. P. Fuller and A. Y. Aldhebiani, 2016. The alteration of mRNA expression of sod and gpx genes, and proteins in tomato (Lycopersicon esculentum Mill) under stress of Nacl and/or ZnO nanoparticles. Saudi journal of biological sciences, 23(6): 773-781.Ali, A., M. Mageed, I. Ahmed and S. Mariey, 2007. Genetic and molecular studies on barley salt tolerance. In: African crop science conference proceedings. pp: 669-682.Chadha, M., 2010. Short duration mungbean: A new success in South Asia. Asia-Pacific association of agricultural research institutions.Dhaubhadel, S., K. Kuflu, M. C. Romero and M. Gijzen, 2005. A soybean seed protein with carboxylate-binding activity. Journal of experimental botany, 56(419): 2335-2344.El-Kafafi, E.-S. H., A. G. Helal, S. F. El Hafnawy and R. Flaah, 2015. Characterization and evaluation of some mungbean genotypes for salt tolerance. World applied science journal, 33(3): 360-370.El-Khallal, S. M., T. A. Hathout, A. Ahsour and A.-A. A. Kerrit, 2009. Brassinolide and salicylic acid induced antioxidant enzymes, hormonal balance and protein profile of maize plants grown under salt stress. Research journal of agriculture biological sciences, 5(4): 391-402.GOP, 2018. Pakistan economic survey from 2017 to 2018. Ministry of Finance. Islamabad. Government of Pakistan. Accessed 18-8-2019, http://www.finance.gov.pk/su rvey/chapters18/02-Agriculture.pdf.Gostinčar, C., M. Turk, J. Zajc and N. Gunde‐Cimerman, 2019. Fifty aureobasidium pullulans genomes reveal a recombining polyextremotolerant generalist. Environmental microbiology, 21(10): 3638-3652.Hameed, A., M. Qureshi, M. Nawaz and N. Iqbal, 2012. Comparative seed storage protein profiling of mung bean genotypes. Pakistan jouranl of botany, 44(6): 1993-1999.Hamidian, M., J. Hawkey, K. E. Holt and R. M. Hall, 2015. Genome sequence of Acinetobacter baumannii strain d36, an antibiotic-resistant isolate from lineage 2 of global clone 1. Genome announced, 3(6): e01478-01415.Hou, D., L. Yousaf, Y. Xue, J. Hu, J. Wu, X. Hu, N. Feng and Q. Shen, 2019. Mung bean (vigna radiata l.): Bioactive polyphenols, polysaccharides, peptides, and health benefits. Nutrients, 11(6): 1238.Itoh, T., R. N. Garcia, M. Adachi, Y. Maruyama, E. M. Tecson-Mendoza, B. Mikami and S. J. A. C. S. D. B. C. Utsumi, 2006. Structure of 8sα globulin, the major seed storage protein of mung bean. Acta crystallographica section D: Biological crystallography, 62(7): 824-832.Khan, F. F., K. Ahmad, A. Ahmed and S. Haider, 2017. Applications of biotechnology in agriculture-review article. World journal of biology biotechnology, 2(1): 139-142.Malviya, N., S. Nayak and D. Yadav, 2008. Characterization of total salt soluble seed storage proteins of grain legumes using sds-page. Bulletin de ressources phytogénétiques(156): 50.Mendoza, E. M. T., M. Adachi, A. E. N. Bernardo and S. Utsumi, 2001. Mungbean [Vigna radiata (L.) wilczek] globulins: Purification and characterization. Journal of agricultural food chemistry, 49(3): 1552-1558.Miclaus, M., J.-H. Xu and J. Messing, 2011. Differential gene expression and epiregulation of alpha zein gene copies in maize haplotypes. PLoS genetics, 7(6).Mushtaq, F., S. A. Jatoi, S. S. Aamir and S. U. Siddiqui, 2018. Genetic variability for morphological attributes and seed protein profiling in chili (Capsicum annuum L.). Pakistan jouranl of botany, 50(4): 1661-1668.Parveen, A.-u.-H. M., J. Akhtar and S. M. Basra, 2016. Interactive effect of salinity and potassium on growth, biochemical parameters, protein and oil quality of soybean genotypes. Pakistan journal of agricultural sciences, 53(01): 69-78.Qados, A., 2010. Effect of arginine on growth, nutrient composition, yield and nutritional value of mung bean plants grown under salinity stress. Nature, 8: 30-42.Riascos, J., W. Burks, L. Pons, A. Weissinger and S. Weissinger, 2009. Identification of a soybean seed biotinylated protein as a novel allergen. Journal of allergy cinical Immunology, 123(2): S24.Wang, S. Y., J. H. Wu, T. Ng, X. Y. Ye and P. F. Rao, 2004. A non-specific lipid transfer protein with antifungal and antibacterial activities from the mung bean. Peptides, 25(8): 1235-1242.Yi-Shen, Z., S. Shuai and R. FitzGerald, 2018. Mung bean proteins and peptides: Nutritional, functional and bioactive properties. Food nutrition research, 62.

The relationship between stock prices and macroeconomic variables varies across countries, time periods, data sets used, and the frequency of data used. Thus, an in-depth study to re-investigate the relationship between selected macroeconomic variables i.e. inflation rate, exchange rate, index of industrial production, gold price, money supply and yields on treasury bills, and Indian stock market for the period of April 2005 to March 2014 has been carried out. In this study Johansens co-integration test, vector error correction model (VECM), impulse response functions (IRFs), and variance decomposition (VDCs) test have been applied. The results of Johansen co-integration test indicates a significant negative relationship between exchange rate, inflation rate, and index of industrial production with stock prices whereas there exists a significantly positive relationship of money supply and yield on treasury bills with stock prices. Vector error correction model helps to determine both short and long run causal relationship between macroeconomic variables and stock price. The results found short run causality runs from exchange rate to Nifty, Nifty to money supply, and inflation rate whereas long run causality found from Nifty to short term interest rate and money supply.

The aim of this study was to estimate the profit and cost functions as well as economic, price, cost, and technical efficiencies beside the other economic indices at actual, optimal and profit-maximizing output of rice. A random sample of 240 rice farms in Nejaf province was used during the agricultural season 2016. From efficiency scales of profit function, it was shown that the output quantity had the greatest impact on the profit compared to other variables (average output costs and price). According to the cost function, the optimum output level and the profit- maximizing output level for the short run were 64.84 tons and 117.4 tons respectively. The lowest price that the farmer can accept was 194.83 thousand dinars / ton. At this price, the producer loss all fixed costs in the short run, hoping that the price of rice will improve in the long run. Net profit was estimated on the basis of actual output, cost minimizing output (optimal) and profit-maximizing output, which amounted to 8084.32, 30852.65 and 45547.5 thousand dinars, respectively. The of technical efficiency were 34%. and the cost efficiency was 0.52. We conclude from the study that economic resources have not been exploited optimally, indicating that actual output is far from optimal output. The study recommends a output policy aimed at increasing economic efficiency and optimizing the use of available resources.

The forecasts for the world and the UK economy reported in this Review are produced using NIESR's global econometric model, NiGEM. The NiGEM model has been in use at the National Institute for forecasting and policy analysis since 1987, and is also used by a group of about 50 model subscribers, mainly in the policy community. Most countries in the OECD are modelled separately, and there are also separate models of China, India, Russia, Hong Kong, Taiwan, Brazil, South Africa, Estonia, Latvia, Lithuania, Slovenia, Romania and Bulgaria. The rest of the world is modelled through regional blocks so that the model is global in scope. All models contain the determinants of domestic demand, export and import volumes, prices, current accounts and net assets. Output is tied down in the long run by factor inputs and technical progress interacting through production functions, but is driven by demand in the short- to medium-term. Economies are linked through trade, competitiveness and financial markets and are fully simultaneous. Further details on the NiGEM model are available on http://nimodel.niesr.ac.uk/.

The forecasts for the world and the UK economy reported in this Review are produced using NIESR's model, NiGEM. The NiGEM model has been in use at the National Institute for forecasting and policy analysis since 1987, and is also used by a group of about 50 model subscribers, mainly in the policy community. Most countries in the OECD are modelled separately, and there are also separate models of China, India, Russia, Hong Kong, Taiwan, Brazil, South Africa, Estonia, Latvia, Lithuania, Slovenia, Romania and Bulgaria. The rest of the world is modelled through regional blocks so that the model is global in scope. All models contain the determinants of domestic demand, export and import volumes, prices, current accounts and net assets. Output is tied down in the long run by factor inputs and technical progress interacting through production functions, but is driven by demand in the short- to medium-term. Economies are linked through trade, competitiveness and financial markets and are fully simultaneous. Further details on the NiGEM model are available on http://nimodel.niesr.ac.uk/.

The forecasts for the world and the UK economy reported in this Review are produced using NIESR's model, NiGEM. The NiGEM model has been in use at the National Institute for forecasting and policy analysis since 1987, and is also used by a group of about 50 model subscribers, mainly in the policy community. Most countries in the OECD are modelled separately, and there are also separate models of China, India, Russia, Hong Kong, Taiwan, Brazil, South Africa, Estonia, Latvia, Lithuania, Slovenia, Romania and Bulgaria. The rest of the world is modelled through regional blocks so that the model is global in scope. All models contain the determinants of domestic demand, export and import volumes, prices, current accounts and net assets. Output is tied down in the long run by factor inputs and technical progress interacting through production functions, but is driven by demand in the short to medium term. Economies are linked through trade, competitiveness and financial markets and are fully simultaneous. Further details on the NiGEM model are available on http://nimodel.niesr.ac.uk/.

The forecasts for the world and the UK economy reported in this Review are produced using NIESR's model, NiGEM. The NiGEM model has been in use at the National Institute for forecasting and policy analysis since 1987, and is also used by a group of about fifty model subscribers, mainly in the policy community. Most countries in the OECD are modelled separately, and there are also separate models of China, India, Russia, Hong Kong, Taiwan, Brazil, South Africa, Estonia, Latvia, Lithuania, Slovenia, Romania and Bulgaria. The rest of the world is modelled through regional blocks so that the model is global in scope. All models contain the determinants of domestic demand, export and import volumes, prices, current accounts and net assets. Output is tied down in the long run by factor inputs and technical progress interacting through production functions, but is driven by demand in the short to medium term. Economies are linked through trade, competitiveness and financial markets and are fully simultaneous. Further details on the NiGEM model are available on http://nimodel.niesr.ac.uk/.

The forecasts for the world and the UK economy reported in this Review are produced using NIESR's model, NiGEM. The NiGEM model has been in use at the National Institute for forecasting and policy analysis since 1987, and is also used by a group of about 50 model subscribers, mainly in the policy community. Most countries in the OECD are modelled separately, and there are also separate models of China, India, Russia, Hong Kong, Taiwan, Brazil, South Africa, Estonia, Latvia, Lithuania, Slovenia, Romania and Bulgaria. The rest of the world is modelled through regional blocks so that the model is global in scope. All models contain the determinants of domestic demand, export and import volumes, prices, current accounts and net assets. Output is tied down in the long run by factor inputs and technical progress interacting through production functions, but is driven by demand in the short- to medium-term. Economies are linked through trade, competitiveness and financial markets and are fully simultaneous. Further details on the NiGEM model are available on http://nimodel.niesr.ac.uk/.

Aiming to investigate the role of governance in modifying the relationship between public finance and economic growth, this study applied a seemingly unrelated regression model for the panel data of 38 developed and 44 developing countries from 1996 to 2016. It is easy to see that this research measures public finance by two parts of the subcomponents: total tax revenue and general government expenditure. We also call governance the “control of corruption indicator”. The finding indicates that governance always positively affects the economy. However, when it interacts with public finance, this interaction has a diverse effect on economic growth in developed countries, depending on tax revenue or government expenditure. Nevertheless, in developing countries, this interaction has a beneficial impact on the growth of an economy. Keywords: Governance, public finance, economic growth, developed and developing countries. References [1] Bird, R. M., Martinez-Vazquez, J. and Torgler, B., “Tax Effort in Developing Countries and High Income Countries: The Impact of Corruption, Voice and Accountability”, Economic Analysis and Policy, 38 (2008) 1, 55-71. https://doi.org/10.1016/S0313-5926(08)50006-3.[2] Dzhumashev, R. (2014) ‘Corruption and growth: The role of governance, public spending, and economic development’, Economic Modelling. Elsevier B.V., 37, pp. 202–215. https://doi.org/10.1016/j.econmod.2013.11.007.[3] d’Agostino, G., Dunne, J.P., & Pieroni, L. (2012). Corruption, military spending and growth. Defence and Peace Economics, 23(6), 591–604.[4] Ugur, M. (2014) ‘Corruption’s direct effects on per-capita income growth: A meta-analysis’, Journal of Economic Surveys, 28(3), pp. 472–490. https://doi.org/10.1111/joes.12035.[5] d’Agostino, G., Dunne, J. P. and Pieroni, L. (2016) ‘Government Spending, Corruption and Economic Growth’, World Development. Elsevier Ltd, 84(1997), pp. 190–205. https://doi.org/10.1016/j.worlddev.2016.03.011.[6] Kaul, I., & ConceiÇÃo, P.(2006). The new public finance: Responding to global challenges United Nations development programme, New York.[7] McGee, R. W. (2008) Taxation and public finance in transition and developing economies. Edited by R. W. Mcgee. North Miami: Springer.[8] Hague, R. and Martin, H. (2004) Comparative government and politics an introduction. 6th Editio. New York: Palgrave Macmillan.[9] Schumpeter, J. A. (1942). The Theory of Economic Development, Harvard Univer- sity Press, Cambridge, MA. [10] Cobb, C. W., & Douglas, P. H. (1928). A Theory of Production. American Economic Association, 18(1), 139–165.[11] Solow, R.M., 1956. A contribution to the theory of economic growth. The Quarterly Journal of Econometrics, 70(1), pp.65–94.[12] Mankiw, N.G., Romer, D. & Weil, D.N., 1992. A contribution to the empirics of economic growth*. Quarterly Journal of Economics, May(1992), pp.407–437.[13] Islam, Nazrul. (1995). “Growth empirics: A panel data approach.” TheQuarterly Journal of Economics, 110(4), pp. 1127-1170.[14] Barro, R. J. and Sala-i-Martin, X. (2004) Economic Growth. Second. London: The MIT press.[15] Devarajan, S., Swaroop, V., & Heng-fu, Z. (1996). The composition of public expenditure and economic growth. Journal of Monetary Economics, 37(2–3), pp.313–344.[16] Kneller, R., Bleaney, M.F., & Gemmell, N.(1999). Fiscal policy and growth: Evidence from OECD countries. Journal of Public Economics, 74(2), 171–190.[17] Ojede, A., & Yamarik, S. (2012). Tax policy and state economic growth: The long-run and short-run of it. Economics Letters, 116(2), 161–165.[18] Azam, M., Qayyum, A., Bakhtyar, B. and Emirullah, C. (2015) ‘The causal relationship between energy consumption and economic growth in the ASEAN-5 countries’, Renewable and Sustainable Energy Reviews. Elsevier, 47(2015), pp. 732–745. doi: 10.1016/j.rser.2015.03.023.[19] Ramírez, J. M., Díaz, Y. and Bedoya, J. G. (2017) ‘Property tax revenues and multidimensional poverty reduction in Colombia: A spatial approach’, World Development, 94, pp. 406–421. doi: 10.1016/j.worlddev.2017.02.005.[20] Stiglitz, J.E., (2000). Economics of the public sector Third edit. E. Parsons et al., eds., New York/London.[21] Hillman, A.L., 2009. Public Finance and Public policy, New York: Cambridge University Press.[22] Zellner, A. (1962) ‘An efficient method of estimating seemingly unrelated regressions and tests for aggregation bias’, Journal of the American Statistical Association, 57(298), pp. 348–368.[23] Yanev, P. I. and Kontoghiorghes, E. J. (2007) ‘Computationally efficient methods for estimating the updated-observations SUR models’, Applied Numerical Mathematics, 57(11-12), pp. 1245-1258. doi: 10.1016/j.apnum.2007.01.004.[24] Blundell, R. and Bond, S. (1998) ‘GMM estimation with persistent panel data : an application to production functions’, Journal of Econometrics, 87(1), pp. 115–143.[25] [25] Baltagi, B.H.(2005). Econometric analysis of panel data, JohnWiley & Sons Ltd., West Sussex PO19 8SQ, England.[26] Sasaki, Y. (2015). Heterogeneity and selection in dynamic panel data. Journal of Econometrics, 188(2015), 236–249.[27] Acemoglu, D. and Robinson, J. (2001) ‘A Theory of Political Transitions.pdf’, The American Economic Review, pp. 938–963. doi: Doi 10.1257/Aer.91.4.938.[28] Windmeijer, F. (2005). A finite sample correction for the variance of linear e cient two-step GMM estimators. Journal of Econometrics, 126(2005), 25-51. https://doi.org/10.1016/j.jeconom.2004.02.005.[29] Law, S. H., Lim, T. C., & Ismail, N. W. (2013). Institutions and economic development: A Granger causality analysis of panel data evidence. Economic Systems, 37(4), 610–624.[30] Harris, R. D. F., and Tzavalis, E. (1999). Inference for unit roots in dynamic panels where the time dimension is fixed. Journal of Econometrics 91, 201-226.[31] Im, K. S., Pesaran, M. H., and Shin, Y. (2003). Testing for unit roots in heterogeneous panels. Journal of Econometrics 115, 53-74.[32] Levin, A., Lin, C.-F. and Chu, C.-S. J. (2002), ‘Unit Root Tests in Panel Data: Asymptotic and Finite Sample Properties’, Journal of Econometrics, 108, pp. 1-24. https://doi.org/10.1016/S0304-4076(01)00098-7.[33] Lien, N. P. and Thanh, S. D. (2017) ‘Tax revenue, expenditure, and economic growth : An analysis of long-run relationships’, Journal of Economic Development, 24(3), pp. 4-26.[34] http://databank.worldbank.org/data/reports.aspx?source=world-development-indicators. Accessed in May 16, 2017.[35] Imam, P. A and Jacobs, D. F. (2007) ‘Effect of corruption on tax revenues in the Middle East’, IMF Journal, WP/07/270(1), pp. 1-36. doi: 10.1515/rmeef-2014-0001.

Editor's Note, The ability to lift heavy loads while performing multiple repetitions is not only highly correlated with muscle mass or the total number actomyosin interactions, but also metabolic functions that includes substrate concentrations and by-product removal. Muscles use adenosine triphosphate (ATP) in at least three locations during exercise; to run the actomyosin interaction, operate sarcoplasmic reticulum calcium pumps, and operate sarcolemma sodium and potassium pumps. Weight lifting sessions are considered to be an intermittent activity that includes only a few second bursts of high force and/or velocity movements followed by rest periods of up to several minutes. Therefore, the anaerobic pathways such as the phosphagen and glycolytic systems are the initial pathways to respond due in part to the ability to match the increased rates of ATP depletion by increasing ATP production. After the initial resting ATP stores are used up, the phosphagen system starts contributing to ATP replenishment. This system consists of reactions from the creatine kinase (CK) pathway and the adenylate kinase (AK) pathway. However, the CK pathway can only work at max capacity for a short period for resting phosphocreatine (PCr) concentrations are only about 4-6 times the amount of resting ATP stores. Once the PCr concentrations are depleted, the AK reaction will begin by using two adenosine diphosphate (ADP) to form one ATP and one adenosine monophosphate (AMP). Although ATP is produced in this pathway, this production of ATP does coincide with an increased concentration of AMP. This is problematic because increased AMP levels will in turn stimulate the adenylate deaminase reaction, which will produce ammonia (NH3). This conversion of AMP into NH3 will result in the muscle cell having a net loss of total adenine nucleotides available to resynthesize ATP. Glycolysis is the next reaction in line, which increases its role in ATP replenishment as PCr stores become depleted and aerobic metabolism cannot meet ATP demands of work being performed. During intense exercise, the demand of glucose as a substrate can increase and consequently stimulate hepatic glucose output (via glycogenolysis) and glucose uptake in the working muscle (via increased GLUT4 translocation). Pre- and post- activity measurements of blood glucose concentrations (BG) or muscle glycogen via muscle biopsies are the most common method of detecting changes in glucose metabolism. Due to timing and the problems of differentiating between the rates of BG appearance and clearance, it is difficult to determine the direct role of glucose metabolism during the actual resistance training (RT) protocols. In addition, the studies that show muscle glycogen depletion following resistance training use as many as 6-10 sets to failure with a loads ranging from 30%-80% of the one repetition maximum (1RM). Moreover, these same research studies were usually was limited to a single movement (e.g. knee extension). Thus, the applicability of the glycogen and glucose utilization studies results to normal RT training programs which employ multiple activities and joint movements is questionable. In addition to measuring the usage of PCr and glucose, the impact of the anaerobic pathways upon RT protocols can be seen from either creatine or carbohydrate supplementation studies. The consensus of these supplementation studies suggest that the use of PCr has a greater impact upon RT than glucose usage. The benefits of creatine supplementation are seen following both immediate post supplementation and following a training in the supplemented state. For instance, the number of repetitions of a task consisting of 5 sets to failure at the 10 repetition maximum increased after six days of creatine supplementation without any resistance training during the six days. Similarly, isokinetic power has been shown to increase after 5 days of creatine supplementation without any resistance training. Also, other research has found an increased peak torque after 5 days, and an increased 1RM after 28 days of creatine supplementation without any resistance training. Additionally, when creatine supplementation is combined with a resistance training program, numerous studies have reported that individuals achieve much greater strength gains in the form of an increased 1RM, or greater number of repetitions to failure at a given percentage of the 1RM. The influence of glucose feedings upon resistance training is equivocal. For example, one study showed that while glucose feedings reduced muscle glycogen loss when doing 3 sets of 10 repetitions of back squats, speed squats, and one-leg squats, the glucose feeding did not influence performance. Likewise, four days of a high carbohydrate diet did not improve the power output during multiple sets of maximal jump squats when compared to a lower carbohydrate diet. Also, the total number of completed sets of 5 repetitions of squats using 85% 1RM did not differ between glucose supplementation and control. On the other hand, in a study where individuals did morning and afternoon workouts where the participants did as many complete sets as possible of 10 repetitions of squats at 55% 1RM, it was found that that consuming a 0.3 g·kg body mass-1 carbohydrate supplement after each set allowed the individuals to perform more complete sets in the afternoon workout. In another study, when measuring the work done by individuals performing 16 sets of 10 repetitions of maximal isokinetic knee flexion/extension at 120o·s-1, the individuals performed more work following consumption of a 1.0 g·kg body mass-1 carbohydrate supplement pre-exercise and 0.51 g·kg body mass-1 carbohydrate supplement after sets 1, 6, and 11. Finally, total work as well as time to exhaustion increased when the participant preceded a static exercise protocol consisting of 20 s of work at 50% of maximal voluntary contraction with the ingestion of 1.0 g·kg body mass-1 carbohydrate coupled with additional carbohydrate supplements of 0.7 g·kg body mass-1 every 6 min. In conclusion, substrate availability can have significant effects on resistance training, particularly with high volume workouts that consist of multiple exercises targeting a single joint movement. Thus, in addition to ensuring the proper number of sets, repetitions, and loads, the athlete should take steps to ensure that their dietary practice before, during, and after training sessions are properly monitored in order to keep energy stores at optimal levels. Since the aforementioned studies consisted of primarily a single exercise, further research is needed to determine the effect of glucose and creatine concentrations and/or supplementations on resistance training sessions which are composed of several different lifts. It would also be a benefit if the research into glucose and creatine concentrations and/or supplementations, investigated how these feedings effect other factors such as metabolite concentration/accumulation, performance variables such as peak force/velocity and time to peak force, recovery time, and the speed of strength, power and muscle mass gains. Arnold Nelson, PhD, Louisiana State University, USA

‘Artists are replicants who have found the secret of their obsolescence.’ (Brian Massumi) The critical reception to British writer Iain Sinclair’s most recent novel Dining on Stones (or, the Middle Ground) frequently focused on the British writer’s predilection for intertextual quotation and allusion, and more specifically, on his proclivity for integrating material from his own backlist. A survey of Dining on Stones reveals the following textual duplication: an entire short story, “View from My Window”, which was published in 2003; excerpts from a 2002 collection of poetry and prose, White Goods; material from his 1999 collaboration with artist Rachel Lichtenstein, Rodinsky’s Room; a paragraph lifted from Dark Lanthorns: Rodinsky’s A to Z, also from 1999; and scenes from 1971’s The Kodak Mantra Diaries. Moreover, the name of the narrator, Andrew Norton, is copied from an earlier Sinclair work, Slow Chocolate Autopsy. Of the six aforementioned inter-texts, only Rodinsky’s Room has had wide commercial release. The remainder are small press publications, often limited edition, difficult to find and read, which leads to the charge that Sinclair is relying on the inaccessibility of earlier texts to obscure his acts of autoplagiarism in the mass market Dining on Stones. Whatever Sinclair’s motives, his textual methodology locates a point of departure for an interrogation of textual doubling within the context of late era capitalism. At first approximation, Dining on Stones appears to belong to a postmodern literature which treats a text’s confluence, or dissonance of innumerable signifiers and systems of signification as axiomatic and intra-textually draws attention to this circumstance. Thematically, the heteroglot narrative of Dining on Stones frequently returns to the duplication of textual material. The book’s primary narrator is haunted by doubles, not least because Andrew Norton periodically functions as a textual doppelganger for Sinclair. Norton’s biography constitutes a cut-up of episodes copied from Sinclair’s personal history and experience as it is presented in his non-fiction and quasi-autobiographical poetry and prose like Lights Out for the Territory and London Orbital. Like his creator, Norton is ontologically troubled by a fetch, or two, who may or may not be the products of his writer’s imagination. He claims that someone is ‘stealing my material. He impersonated me with a flair I couldn’t hope to equal, this thief. Trickster.’ (218) A ‘disturbing’ encounter with ‘Grays’, an uncannily familiar short story by another writer Marina Fountain, reveals a second textual poacher copying Norton’s work. She hadn’t written it without help, obviously. The tone was masculine, sure of itself, its pretensions; grammatically suspect, lexicologically challenged, topographically slapdash. A slash-and-burn stylist. But haunted: by missing fathers – Bram Stoker, S. Freud and Joseph Conrad. Clunky hints… about writing and stalking, literary bloodsucking, gender, disguise. … But it was the Conrad aspect that pricked me. Fountain had somehow got wind of my researched (incomplete, unpublished) essay on Conrad in Hackney. Her exaggerated prose, its shotgun sarcasm, jump-cuts, psychotic syntax, was an offensive parody of a manner of composition I’d left behind. (167) When ‘Grays’ is later reprinted in full in the novel (141-65), it is a renamed double of a previous Sinclair piece, ‘In Train for the Estuary’ (Sinclair, White Goods, 57-75). This doubling is replicated with another Sinclair story ‘View from My Window’ also being attributed to Fountain (313-341). Neither the style, nor the content of Sinclair’s previous works have been discarded: they have been reproduced and incorporated in Dining on Stones’ retrospective of Sinclair’s earlier work. Thus, Norton’s review of Fountain’s writing as ‘a manner of composition I’d left behind’ doubles as Sinclair’s self-conscious recognition of the text as an artefact produced from diverse inter-texts – including his own. In contrast to Sinclair’s dialogic doubling, Fountain’s double is of a monologic disposition. It is mechanical ‘echopraxis,’ a neologism coined in Dining on Stones which is defined as the ‘mindless repetition of another person’s moves and gestures.’ (192) Its mercenary dimension, enacted without regard for the integrity of the inter-text, is underscored with the epithet ‘slash-and-burn stylist.’ The monologic double possesses the text, drains it of its vitality. It entails necrosis, mortification. Fountain’s appropriation of Norton’s story is close to Fredric Jameson’s characterisation of pastiche which, he says, shuts down communication between texts (202). For Jameson, pastiche is the exemplary postmodern literary ‘style’. It is inert, static, a textual aporia. Jameson’s verdict is harsh: pastiche is cannibalism, text devouring text with an appetite that corresponds to the cupidity of consumer culture. Textual cannibalism vanquishes dialogism. It is the negation of the textual Other because cannibalism is only possible when the Other no longer exists. So how does Sinclair distinguish his doubling of his own text from Fountain’s monologic doubling as it is depicted in the novel’s narrative? A clue can be detected in one of the stories stolen by Fountain. ‘In Train for the Estuary’ is a re-writing of Dracula, and takes its cue from Karl Marx’s famous analogy between capitalism and vampirism: ‘capital is dead labour, which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks.’ (342) Sinclair’s vampire doubles as an academic (or is it the other way round?) who obsessively and compulsively stalks her quarry/object of study, Joseph Conrad. First, she had learnt Polish. Then she tracked down the letters and initiated the slow, painstaking, much-revised process of translation. She travelled. Validated herself. Being alone in an unknown city, visiting libraries, enduring and enjoying bureaucratic obfuscation, sitting in bars, going to the cinema, allowed her to try on a new identity. She initiated correspondence with people she never met. She lied. She stole from Conrad. (Sinclair, White Goods, 58) The woman’s identity is leeched from the work of Conrad. Sinclair describes unethical activity in appropriating text: lying, stealing, sucking the blood from the corpus of Conrad. A compulsive need to maintain the ‘validation’ of this poached identity emerges, manifesting itself as addiction. The addict is an extreme embodiment of the (ir)rationality of consumption: consumed by the need to consume. The woman’s lust for text is commensurate with the twin desires—blood and real estate—of her precursor, Bram Stoker’s Dracula. Sinclair’s narrative of addiction doubles as a meta-critique on the compulsive desire to reproduce text and image that characterizes postmodern textualities as well as the apparatuses that produce them. The textual doubling in Dining on Stones, which is published by the multinational Penguin, seems to enact a reterritorialisation of a deterritorialised minor literature. However, Sinclair’s allegorical rewriting of the vampire legend and its subsequent inclusion in the mainstream novel’s narrative, reveal that capitalism’s doubles are simulacra in the Aristotelian sense because they are copies for which there is no original. The ostensible ‘original’ is the product of different material conditions and thus cannot be duplicated by the machinery of capitalism. The capitalist reproduction of text produced within an alternative cultural economy is an uncanny double (with an infinite capacity to be doubled over and over again) whose existence, like that of Sinclair’s academic in White Goods, is parasitical. The capitalist simulacrum necessitates that the original be destroyed, or at the very least, theorised out of existence so that restrictions based on its own premise of individual property rights can be circumvented. Postmodernism’s attendant theory is an over-determined repetition of poststructuralist tenets such as the instability of texts, the polysemous signifier and the impossibility of self as empirical subject. Images and meaning are no longer anchored, and free to be reproduced. Paradoxically, this proliferation of signification has the effect of constricting the originary text, compressing it under the burden of competing meanings, so that it is almost undetectable. Writes Brian Massumi (doubling Jean Baudrillard), ‘postmodernism stutters. In the absence of any gravitational pull to ground them, images accelerate and tend to run together. They become interchangeable. Any term can be substituted for any other: utter indetermination.’ The postmodern project’s effacement of the centred subject and the self has as its consequence, according to Jameson, a ‘waning of affect’ which is superseded ‘by a peculiar kind of euphoria.’ (200) The euphoria to which Jameson refers is not that of the poststructuralist textasy. Instead, it is postmodernism’s return to the idealism of Hegelian dialects, a euphoria achieved from the fusion of contradictions. Postmodernism’s doubles are a utopian attempt to synthesize antinomy and unity in a simultaneity that assimilates the fragmentation of modernity and the modern subject, with the cohesion of the commodity and its closed system of cultural logic. As such, the postmodern double is a rejection of modernist engagements with technical reproducibility. Modernism’s literary assemblages are, in Victor Shlovsky’s words, the laying bare of the device, an exposition of the seams through techniques such as collage, bricolage and montage. These linguistic (and at times visual) conjunctures of disparate elements do not attempt to elide material and thematic disjuncture. As Walter Benjamin stresses, this type of textual methodology has the potential, through the disruption of spatial and temporal logic and the creation of anachrony, to rupture the linear representations and formations of order favoured by capitalist political economies (Benjamin, ‘On the concept of history’). Postmodernism, which doubles (following Jameson’s formulation) as the cultural logic of late capitalism, reiterates that texts can be undone, and then reassembled, rearticulated anew, rendered useful to a commodity culture over and over again. Consequently, postmodernism’s copies are analogous, at the level of cultural production, to capitalism’s ceaseless appropriation of discourse, practice, and production. This is the alchemical project of capitalism. It strives to transform everything that it has doubled into the gold of the commodity. The inherent dangers of unrestrained reproduction are for Jameson exemplified in the treatment of Van Gogh’s Pair of Shoes (1885): If this copiously reproduced image is not to sink to the level of sheer decoration, it requires us to reconstruct some initial situation out of which the finished work emerges. Unless that situation—which has vanished into the past—is somehow mentally restored, the painting will remain an inert object, a reified end-product, and be unable to be grasped as a symbolic act in its own right, as praxis and as production. (194) Jameson’s reading of Van Gogh’s shoes reminds us of the fate of Alberto Korda’s 1960 photograph of revolutionary Che Guevara. Appropriated by the media, inscribed on T-shirts, mugs, even door mats, Che’s portrait is an emblem of the degradation Jameson describes. Like Van Gogh’s painting, Korda’s photograph was once a ‘symbolic act in its own right, as praxis and as production,’ saturated with the potential and spirit of revolution. Over time, the iconic image has leaked meaning. The signifying chain that anchored it to its original significance is broken each time it is reproduced and decontextualised through the process of commodification, until Che’s image is unrecognisable, a mere ornament. Refuting Benjamin’s concerns in ‘The Work of Art in its Age of Technical Reproducibility’ postmodern theory argues that technologies enabling reproducibility have led to a democratisation of text and textual production, and by extension, have liberated the multitude from a hierarchy of value that privileges the singular. Mass reproduction and the accompanying pressure for texts to be accessible results in altered attitudes regarding the preservation of intellectual property rights and ‘fair use’. In an economy of signs where use-value has become synonymous with exchange-value, then the text which has no exchange value due to it being ‘freely’ available—‘free’ in its double sense, as something exempt from restriction, or cost—can be copied without economic or ethical restraint, without permission. The quotation marks can be scrapped. According to postmodern logic, the double is a transposition with a legitimacy equalling, even rivalling the original. Clearly, Jameson’s lament that postmodernism represents ‘the end of the distinctive individual brushstroke (as symbolized by the emergent primacy of mechanical reproduction)’ cannot escape an association with elitism because technical reproducibility indubitably enables greater access. However, the utility of technologies of reproduction to the capitalist empire of structures and signs cannot be underestimated. It enables the ceaseless reproduction of ideologemes inscribed with the logic of capitalism; in other words, it enables capitalism to reproduce itself relentlessly. Postmodern cultural production is self-aware; it acknowledges its role as commodity and reproduces the ideology of the commodity form in its material form. In this manner, it functions as an ideologeme. Sinclair’s doubles cannot be understood according to the schema of postmodernism because he subverts postmodernism’s political and aesthetic symbiosis with capitalism. Moreover, the double in Sinclair travels beyond rehearsing a self-conscious hyphology (Barthes, 39). He defies postmodernism’s occultation of the author through his reiteration of the author’s authority over their own work. In contrast to the reductive manner postmodern texts duplicate other texts, Sinclair’s texts propose a typology of the double which advocates a dialogic duplication. Sinclair’s doubling refuses postmodernism’s return to the idealism of Hegelian dialects, and its synthesis of contradictions in the service of its unified material and aesthetic program: the commodification of literature. Consequently, Dining on Stones’ textual doubling is a critique of the epistemic shift to the monologic double which Jameson claims typifies a large portion of contemporary textual duplication. References Barthes, Roland. “Theory of the Text.” Untying the Text: A Post-Structuralist Reader. Ed. Robert Young. Boston: Routledge and Kegan Paul, 1981. Benjamin, Walter. “On the Concept of History.” Selected Writings: Volume 4, 1938-1940. Trans. by Edmund Jephcott. Eds. Michael W.Jennings & Howard Eiland. Cambridge, Mass. & London, England: Belknap Press, 2003. ––– . “The Work of Art in the Age of Technical Reproducibility.” Selected Writings: Volume 3, 1935-1938. Trans. by Edmund Jephcott. Eds. Michael W.Jennings & Howard Eiland. Cambridge, Mass. & London, England: Belknap Press, 2003. Jameson, Fredric. “Postmodernism, or the Cultural Logic of Late Capitalism.” The Jameson Reader. Eds. Michael Hardt and Kathi Weeks. Oxford: Blackwell, 2000. Massumi, Brian. “Realer than Real: The Simulacrum According to Deleuze and Guattari.” 12 May 2005. http://www.anu.edu.au/HRC/first_and_last/works/realer.htm>. Marx, Karl. Capital, Volume 1. Trans. by Ben Fowkes. Vintage Books edition. New York: Random House, 1976. Sinclair, Iain. Dark Lanthorns: Rodinsky’s A-Z. ––– . Dining on Stones. London: Hamish Hamilton, 2004. ––– . Lights Out for the Territory. London: Granta 1997. ––– . London Orbital. London: Granta, 2002. ––– . Rodinsky’s Room. London: Granta, 1998. ––– . View from My Window. Tonbridge: Worple Press, 2003. ––– . White Goods. Uppingham: Goldmark, 2002. Sinclair, Iain, and Dave McKean. Slow Chocolate Autopsy. London: Phoenix, 1997. Citation reference for this article MLA Style Seale, Kirsten. "Doubling: Capitalism and Textual Duplication." M/C Journal 8.3 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0507/08-seale.php>. APA Style Seale, K. (Jul. 2005) "Doubling: Capitalism and Textual Duplication," M/C Journal, 8(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0507/08-seale.php>.

Investigative journalist Bill Moyers interviews Jon Stewart of The Daily Show: MOYERS: I do not know whether you are practicing an old form of parody and satire…or a new form of journalism. STEWART: Well then that either speaks to the sad state of comedy or the sad state of news. I can’t figure out which one. I think, honestly, we’re practicing a new form of desperation…. July 2003 (Bill Moyers Interview of Jon Stewart, on Public Broadcasting Service) Transmission, while always fraught and ever-changing, is particularly so at a moment when coincidentally the exponential increase in access to new media communication is paired with the propagandized and state-dominated moment of war, in this case the U.S. preemptive invasion of Iraq in 2003. U.S. fighter planes drop paper propaganda along with bombs. Leaked into mainstream media by virtue of new media technologies, the violations of Abu-Ghraib represent the challenge of conducting war in a digital era. Transmissions are highly controlled and yet the proliferation of access poses a new challenge – explicitly named by Rumsfeld in December 2005 on the Jim Lehrer news hour: DONALD RUMSFELD: No, I think what is happening – and this is the first war that has ever been conducted in the 21st century when you had talk radio, the Internet, e-mails, bloggers, 24-hour news, digital cameras, video cameras, instant access to everything, and we haven’t accommodated to that yet. … And what’s happening is the transmission belt that receives it spreads all these things. … Rumsfeld’s comments about the convergence of new media with a time of war highlights what those of us studying cultural communication see as a crucial site of study: the access and use of new media to transmit dissenting political commentary is arguably a sign of new counter-public spaces that coincide with increased mainstream media control and erosion of civil liberties surrounding free speech. In this particular instance, the strategic use of media by U.S. political administration to sell a morally questionable war to the public through deceptions and propaganda raises new questions about the transmission and phenomenon of truth claims in a digital age. In this essay I examine three sites through which satire is used to express political commentary in the convergent moment of repression combines with increased affordances. The examples I offer have been chosen because they illustrate what I recognize as a cultural shift, an emotional sea change even for staunch postmodernists: replacing Jameson’s characterization of the “waning of affect,” there has emerged renewed desire for truthfulness and accountability. What’s unique is that this insistence on the possibility of truthfulness is held in simultaneous contradiction with cynical distrust. The result is a paradoxical affective sentiment shared by many: the simultaneous belief that all truths are rhetorically constructed along with the shared certainty that we have been lied to, that this is wrong, and that there is a truthfulness that should be delivered. This demand is directed at the corrupted synergy created between media and politicians. The arguments used to counter the dominant content (and form) of transmission are made using new digital media. The sea-change in transmission is its multidirectionality, its frequency, and its own rapidly-changing modes of transmission. In short, communication and the political role of media has become exponentially complex in the simultaneous demand for truthfulness alongside the simultaneous awareness that all truth is constructed. Visual satire offers an ideal form to transmit the post-9/11 contradictions because irony turns on the unsaid; it uses the dominant forms of logic to express what is otherwise silenced as dissenting didacticism; it expresses horrors in forms that are palatable; it creates a sense of shared meaning and community by using the unsaid to create a recognition of the dominant culture as misrepresentation. While irony has been used for centuries as a political tool, what is unique about the digitally produced and disseminated cultures created through visual ironies after 9/11 is that these expressions explicitly reference again and again a desire for accountability. Much could be said about the history of political satire, and if space permitted I would develop here my discussion of affect and parody, best excavated beginning with a history of political satire moving up to current “fair use legislation” which legally protects those who perform parody, one subset of satire. A more general comment on the relation of humor to politics helps set a context for the relationship of satire to contemporary political transmissions I address. Humor … helps one only to bear somewhat better the unalterable; sometimes it reminds both the mighty and the weak that they are not to be taken seriously. …One’s understanding of political jokes obviously depends on one’s understanding of politics. At one level, politics is always a struggle for power. Along with persuasion and lies, advice and flattery, tokens of esteem and bribery, banishment and violence, obedience and treachery, the joke belongs to the rich treasury of the instruments of politics. We often hear that the political joke is an offensive weapon with which an aggressive, politically engaged person makes the arrangements or precautions of an opponent seem ridiculous. But even when political jokes serve defensive purposes, they are nonetheless weapons (Speier and Jackall 1998, 1352). The productions I am studying I define as digital dissent: the use of new media to engage in tactical media, culture jamming, or online civic participation that interrupts mainstream media narratives. The sites I am studying include multimedia memes, blogs, and mirrored streaming of cable-channel Comedy Central’s highly popular news satire. These three examples illustrate a key tension embedded in the activity of transmission: in their form (satirical) and content (U.S. mainstream media and U.S. politicians and mistakes) they critique prevailing (dominant) transmissions of mainstream media, and perform this transmission using mainstream media as the transmitter. The use of the existing forms to critique those same forms helpfully defines “tactical media,” so that, ironically, the transmission of mainstream news is satirized through content and form while in turn being transmitted via corporate-owned news show. The following illustrations of digital dissent employ irony and satire to transmit the contradictory emotional sensibilities: on the one hand, the awareness that all truth claims are constructed and on the other, a longing for truthful accountability from politicians and media. The Daily Show with Jon Stewart The Daily Show (TDS) with Jon Stewart is a highly-popular news satire. “The most trusted name in fake news” is transmitted four nights a week in the U.S. and Canada on cable television and often on another local network channel. TDS format uses “real” news clips from mainstream media – generally about Washington D.C. politics – and offers satirical and ironic commentary about the media representations as well as about the actions and speech of the politicians represented. Aired in Europe through CNN as well througha half-hour once weekly version, TDS is also streamed online both through Comedy Central’s official site as well as on mirrored independent streaming. The Daily Show has been airing for 6 years, has 1.7 million television viewers, a wide audience who view TDS online, and a larger segment of age 18-31 viewers than any other U.S. nightly news show (Friend 28). Jon Stewart has become an icon of a cross-partisan North American critique of George W. Bush in particular (though Stewart claims himself as non-partisan). Particularly since his appearance on CNN news debate show Crossfire and now poised to host the Academy Awards (two days until Oscar broadcast as I write), Jon Stewart emblematizes a faith in democracy, and demand for media accountability to standards of civic discourse seen as central to democracy. (In a March 2, 2006 blog-letter to Jon Stewart, Ariana Huffington warns him against losing his current political legitimacy by blowing it at the Oscars: “Interjecting too much political commentary – no matter how trenchant or hilarious – is like interrupting the eulogy at a funeral to make a political point … . At the same time, there is no denying the fact, Jon, that you are going to have the rapt attention of some 40 million Americans. Or that political satire – done right – can alter people’s perceptions (there’s a reason emperors have always banned court jesters in times of crisis). Or that a heaping dose of your perception-altering mockery would do the American body politic a load of good.”) “Stop hurting America” Stewart pleads with two mainstream news show hosts on the now-infamous Crossfire appearance, (an 11 minute clip easily found online or through ifilm.com). Stewart’s public shaming of mainstream media as partisan hackery theatre, “helping corporations and leaving all of us alone to mow our lawns,” became the top-cited media event in the blogosphere in 2004. The satirical form of The Daily Show illustrates how the unsaid functions as truth. Within the range of roles classically defined within the history of humor and satire, Jon Stewart represents the court jester (Jones). First, the unsaid often occurs literally through Stewart’s responses to material: the camera often shows simply his facial expression and speechlessness, which “says it all.” The unsaid also occurs visually through the ironic adoption of the familiar visuals of a news show: for example, situating the anchor person (Stewart) behind his obscenely large news desk. Part of this unsaid is an implicit questioning of the performed legitimacy of a news report. For viewers, The Daily Show displaces a dominant and enforced hegemonic cultural pastime: individuals in isolated living rooms tuned in to (and alienated by) the 11 o’clock dose of media spin about politicians’ and military versions of reality have been replaced by a new virtual solidarity of 1.2 million living rooms who share a recognition of deception. Ironically, as Bill Moyers expresses to Jon Stewart, “but when I report the news on this broadcast, people say I’m making it up. When you make it up, they say you’re telling the truth” (“Transcript”). The unsaid also functions by using actual existing logics, discourses, and even various familiar reiterated truth claims (the location of WMD; claims made by Hans Blix, etc.) and shifting the locutionary context of these slightly in order to create irony – putting “real” words into displaced contexts in a way that reveals the constructed-ness of the “real” and thereby creates an unsaid, shared commentary about the experience of feeling deceived by the media and by the Pentagon. Through its use of both “real” news footage combined with ironic “false” commentary, The Daily Show allows viewers to occupy the simultaneous space of cynicism and desire for truth: pleasure and satisfaction followed by a moment of panic or horror. Bush in 30 Seconds The Bushin30seconds campaign was begun by the organization MoveOn, who solicited entries from the public and received over 500 which were streamed as QuickTime videos on their Website. The guidelines were to use the form of a campaign ad, and the popularly-selected winner would be aired on major network television during the 2004 Superbowl. The majority of the Bushin30Seconds ads include content that directly addresses Bush’s deception and make pleas for truth, many explicitly addressing the demand for truth, the immorality of lies, and the problems that political deception pose for democracy (along with a research team, I am currently working on a three year project analyzing all of these in terms of their content, rhetorical form, and discursive strategies and will be surveying and interviewing the producers of the Bushin30Seconds. Our other two sites of study include political blogs about the U.S. invasion of Iraq, and online networks sparked by The Daily Show). The demand for truthfulness is well exemplified in the ad called “Polygraph” (see also #27 A Big Puzzle). This ad invokes a simulated polygraph – the polygraph being a classic instrument of rational positivism and surveillance – which measures for the viewer the “truth” quotient of Bush’s own “real” words. Of course, the polygraph is not actually connected to Bush’s body, and hence offers a visual symbolic “stand in” for the viewer’s own internal or collectively shared sensibility or truth meter. Illustrating my central argument about the expressed desire for truthfulness, the ad concludes with the phrase “Americans are dying for the truth.” Having examined 150 ads, it is remarkable how many of these – albeit via different cultural forms ranging from hip hop to animation to drama to pseudo-advertisement for a toy action figure – make a plea for accountability, not only on behalf of one’s own desire but often out of altruistic concern for others. The Yes Men I offer one final example to illustrate transmissions that disrupt dominant discourses. The Yes Men began their work when they created a website which “mirrored” the World Trade Organization site. Assumed to represent the WTO, they were subsequently offered invitations to give keynotes at various international conferences and press meetings of CEOs and business people. (Their work is documented in an hour-long film titled The Yes Men available at many video outlets and through their web site.) The main yes man, Bichlbaum, arrives to these large international meetings with careful attire and speech, and offers a straight-faced keynote with subversive content. For example, at a textile conference he suggests that slavery had been a very profitable form of labor and might be reintroduced as alternative to unionized labor. At another conference, he announced that the WTO had decided to disband because it has realized it is only causing harm to international trade and economy. In December 2004, the Yes Men struck again when they were invited by the BBC as representatives of DOW chemical on the 20th anniversary of the Union Carbide Bhopal accident in India. Those who watched the BBC news and Channel 4 and the hundreds of thousands who viewed these clips afterwards are made aware of the anniversary of the worst chemical accident in history; are apprised of the ongoing effects on the people of Bhopal; and hear an unusual primetime soundbyte lambasting the utter absence of social responsibility of corporations such as Dow Chemical. The Yes Men illustrate what some might call tactical media, some might call media terrorism, and what some aspire to in their own activism. “They compare their work to that of a “funhouse mirror” – exaggerating hideous features. ‘We do that kind of exaggeration operation, but with ideas. We agree with people – turning up the volume on their ideas as we talk, until they can see their ideas distorted in our funhouse mirror. Or that’s what we try to do anyhow. As it turns out, the image always seems to look normal to them,’ Bichlbaum said” (Marchlewski). Another article describes their goal as follows: When newspapers and television stations out their acts, it’s not just the Yes Men who get attention, but also the issues they address … . The impersonations, which the two call identity corrections, are intended to show, in a colorful and humorous way, what they say are errors of corporate and government ways. (Marchlewski 2005) In conclusion, these three examples illustrate the new media terrain of access and distribution which enables transmissions that arguably construct significant new public spheres constructed around a desire for truthfulness and accountability. While some may prefer “civil society,” I find the concept of a public useful because its connotations imply less regimentation. If the public sphere is in part constructed through the reflexive circulation of discourse, the imaginary relation with strangers, and with affect as a social glue (my addition to Michael Warner’s six features of a public), we have described some of the ways in which counterpublics are produced (Warner 2002; Boler, forthcoming). If address (the circulation and reception of a cultural production under consideration) in part constructs a public, how does one imagine the interactivity between the listener/bystander/participant and the broadcast or image? To what extent do the kinds of transmission I have discussed here invite new kinds of multi-directional interactivity, and to what extent do they replicate problematic forms of broadcast? Which kind of subject is assumed or produced by different “mediated” publics? What is the relationship of discourse and propaganda to action and materiality? These are some of the eternally difficult questions raised when one analyzes ideology and culture in relation to social change. It is indeed very difficult to trace what action follows from any particular discursive construction of publics. One can think of the endings of the 150 Finalists in the Bush in30 Seconds campaign, each with an explicit or implicit imperative: “think!” or “act!” What subject is hailed and invoked, and what relationship might exist between the invocation or imagining of that listener and that listener’s actual reception and translation of any transmission? The construction of a public through address is a key feature of the politics of representation and visions of social change through cultural production. Each of the three sites of productions I have analyzed illustrate a renewed call for faith in media as an institution which owes a civic responsibility to democracy. The iterations of calls for truthful accounts from media and politicians stand in tension with the simultaneous recognition of the complex social construction of any and all truth claims. The uncertainty about whether such transmissions constitute “an old form of parody and satire…or a new form of journalism” reflects the ongoing paradox of what Jon Stewart describes as a “new form of desperation.” For those who live in Western democracies, I suggest that the study of political transmission is best understood within this moment of convergence and paradox when we are haunted by paradoxical desires for truths. References “American Daily.” 7 Nov. 2003 http://www.americandaily.com/article/5951>. Boler, Megan. “Mediated Publics and the Crises of Democracy.” Philosophical Studies in Education 37 (2006, forthcoming), eds. Justen Infinito and Cris Mayo. Colebrook, Claire. Irony. London: Routledge, 2004. Jameson, Frederic. “Postmodernism and Consumer Society.” The Anti-Aesthetic. Ed. H. Foster. Seattle: Bay Press, 1983. Jones, Jeffrey. Entertaining Politics: New Political Television and Civic Culture. New York: Rowman and Littlefield Publishers, 2004. Fletcher, M.D. Contemporary Political Satire. New York: University Press of America, 1987. Friend, Tad. “Is It Funny Yet? Jon Stewart and the Comedy of Crisis”. The New Yorker 77.47 (11 Feb. 2002): 28(7). Huffington, Ariana. “Memo to Jon Stewart: Tread Lightly and Carry a Big Schtick.” 2 March 2006. 4 March 2006 http://www.huffingtonpost.com/arianna-huffington/memo-to-jon-stewart-trea_b_16642.html>. Latour, Bruno. “Why Has Critique Run Out of Steam? From Matters of Fact to Matters of Concern.” Critical Inquiry 30.2 (2004). http://www.uchicago.edu/research/jnl-crit-inq/issues/v30/30n2.Latour.html>. Marchlewski, Kathie. “Hoaxsters Target Dow, Midland Daily News.” 20 May 2005 http://www.theyesmen.org/articles/dowagmmidlanddailynews.html>. Speier, Hans, & Robert Jackall. “Wit and Politics: An Essay on Laughter and Power.” The American Journal of Sociology 103.5 (1998): 1352. “The News Hour with Jim Lehrer.” 8 Dec. 2005. http://www.pbs.org/newshour/bb/fedagencies/july-dec05/rumsfeld_12-08.html>. “Transcript – Bill Moyers Inverviews Jon Stewart.” 7 Nov. 2003 . Warner, Michael. “Publics and Counterpublics.” Public Culture 14.1 (2002): 49-90. Citation reference for this article MLA Style Boler, Megan. "The Transmission of Political Critique after 9/11: “A New Form of Desperation”?." M/C Journal 9.1 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0603/11-boler.php>. APA Style Boler, M. (Mar. 2006) "The Transmission of Political Critique after 9/11: “A New Form of Desperation”?," M/C Journal, 9(1). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0603/11-boler.php>.

IntroductionThe 2009 American film Trash Humpers, directed by Harmony Korine, was released at a time when the hipster had become a ubiquitous concept, entering into the common vernacular of numerous cultures throughout the world, and gaining significant press, social media and academic attention (see Žižek; Arsel and Thompson; Greif et al.; Stahl; Ouellette; Reeve; Schiermer; Maly and Varis). Trash Humpers emerged soon after the 2008 Global Financial Crisis triggered Occupy movements in numerous cities, aided by social media platforms, reported on by blogs such as Gawker, and stylized by multi-national youth-subculture brands such as Vice, American Apparel, Urban Outfitters and a plethora of localised variants.Korine’s film, which is made to resemble found VHS footage of old-aged vandals, epitomises the ironic, retro stylizations and “counterculture-meets-kitsch” aesthetics so familiar to hipster culture. As a creative stereotype from 1940s and ‘50s jazz and beatnik subcultures, the hipster re-emerged in the twenty-first century as a negative embodiment of alternative culture in the age of the Internet. As well as plumbing the recent past for things not yet incorporated into contemporary marketing mechanisms, the hipster also signifies the blurring of irony and authenticity. Such “outsiderness as insiderness” postures can be regarded as a continuation of the marginality-from-the-centre logic of cool capitalism that emerged after World War Two. Particularly between 2007 and 2015, the post-postmodern concept of the hipster was a resonant cultural trope in Western and non-Western cultures alike, coinciding with the normalisation of the new digital terrain and the establishment of mobile social media as an integral aspect of many people’s daily lives. While Korine’s 79-minute feature could be thought of as following in the schlocky footsteps of the likes of Rob Zombie’s The Devil’s Rejects (2006), it is decidedly more arthouse, and more attuned to the influence of contemporary alternative media brands and independent film history alike – as if the love child of Jack Smith’s Flaming Creatures (1963) and Vice Video, the latter having been labelled as “devil-may-care hipsterism” (Carr). Upon release, Trash Humpers was described by Gene McHugh as “a mildly hip take on Jackass”; by Mike D’Angelo as “an empty hipster pose”; and by Aaron Hillis as either “the work of an insincere hipster or an eccentric provocateur”. Lacking any semblance of a conventional plot, Trash Humpers essentially revolves around four elderly-looking protagonists – three men and a woman – who document themselves with a low-quality video camera as they go about behaving badly in the suburbs of Nashville, Tennessee, where Korine still lives. They cackle eerily to themselves as they try to stave off boredom, masturbating frantically on rubbish bins, defecating and drinking alcohol in public, fellating foliage, smashing televisions, playing ten-pin bowling, lighting firecrackers and telling gay “hate” jokes to camera with no punchlines. In one purposefully undramatic scene half-way through the film, the humpers are shown in the aftermath of an attack on a man wearing a French maid’s outfit; he lies dead in a pool of blood on their kitchen floor with a hammer at his feet. The humpers are consummate “bad” performers in every sense of the term, and they are joined by a range of other, apparently lower-class, misfits with whom they stage tap dance routines and repetitively sing nursery-rhyme-styled raps such as: “make it, make it, don’t break it; make it, make it, don’t fake it; make it, make it, don’t take it”, which acts as a surrogate theme song for the film. Korine sometimes depicts his main characters on crutches or in a wheelchair, and a baby doll is never too far away from the action, as a silent and Surrealist witness to their weird, sinister and sometimes very funny exploits. The film cuts from scene to scene as if edited on a video recorder, utilising in-house VHS titling sequences, audio glitches and video static to create the sense that one is engaging voyeuristically with a found video document rather than a scripted movie. Mainstream AlternativesAs a viewer of Trash Humpers, one has to try hard to suspend disbelief if one is to see the humpers as genuine geriatric peeping Toms rather than as hipsters in old-man masks trying to be rebellious. However, as Korine’s earlier films such as Gummo (1997) attest, he clearly delights in blurring the line between failure and transcendence, or, in this case, between pretentious art-school bravado and authentic redneck ennui. As noted in a review by Jeannette Catsoulis, writing for the New York Times: “Much of this is just so much juvenile posturing, but every so often the screen freezes into something approximating beauty: a blurry, spaced-out, yellow-green landscape, as alien as an ancient photograph”. Korine has made a career out of generating this wavering uncertainty in his work, polarising audiences with a mix of critical, cinema-verité styles and cynical exploitations. His work has consistently revelled in ethical ambiguities, creating environments where teenagers take Ritalin for kicks, kill cats, wage war with their families and engage in acts of sexual deviancy – all of which are depicted with a photographer’s eye for the uncanny.The elusive and contradictory aspects of Korine’s work – at once ugly and beautiful, abstract and commercial, pessimistic and nostalgic – are evident not just in films such as Gummo, Julien Donkey Boy (1999) and Mister Lonely (2007) but also in his screenplay for Kids (1995), his performance-like appearances on The Tonight Show with David Letterman (1993-2015) and in publications such as A Crackup at the Race Riots (1998) and Pass the Bitch Chicken (2001). As well as these outputs, Korine is also a painter who is represented by Gagosian Gallery – one of the world’s leading art galleries – and he has directed numerous music videos, documentaries and commercials throughout his career. More than just update of the traditional figure of the auteur, Korine, instead, resembles a contemporary media artist whose avant-garde and grotesque treatments of Americana permeate almost everything he does. Korine wrote the screenplay for Kids when he was just 19, and subsequently built his reputation on the paradoxical mainstreaming of alternative culture in the 1990s. This is exemplified by the establishment of music and film genres such “alternative” and “independent”; the popularity of the slacker ethos attributed to Generation X; the increased visibility of alternative press zines; the birth of grunge in fashion and music; and the coining of “cool hunting” – a bottom-up market research phenomenon that aimed to discover new trends in urban subcultures for the purpose of mass marketing. Key to “alternative culture”, and its related categories such as “indie” and “arthouse”, is the idea of evoking artistic authenticity while covertly maintaining a parasitic relationship with the mainstream. As Holly Kruse notes in her account of the indie music scenes of the 1990s, which gained tremendous popularity in the wake of grunge bands such as Nirvana: without dominant, mainstream musics against which to react, independent music cannot be independent. Its existence depends upon dominant music structures and practices against which to define itself. Indie music has therefore been continually engaged in an economic and ideological struggle in which its ‘outsider’ status is re-examined, re-defined, and re-articulated to sets of musical practices. (Kruse 149)Alternative culture follows a similar, highly contentious, logic, appearing as a nebulous, authentic and artistic “other” whose exponents risk being entirely defined by the mainstream markets they profess to oppose. Kids was directed by the artist cum indie-director Larry Clark, who discovered Korine riding his skateboard with a group of friends in New York’s Washington Square in the early 1990s, before commissioning him to write a script. The then subcultural community of skating – which gained prominence in the 1990s amidst the increased visibility of “alternative sports” – provides an important backdrop to the film, which documents a group of disaffected New York teenagers at a time of the Aids crisis in America. Korine has been active in promoting the DIY ethos, creativity and anti-authoritarian branding of skate culture since this time – an industry that, in its attempts to maintain a non-mainstream profile while also being highly branded, has become emblematic of the category of “alternative culture”. Korine has undertaken commercial projects with an array skate-wear brands, but he is particularly associated with Supreme, a so-called “guerrilla fashion” label originating in 1994 that credits Clark and other 1990s indie darlings, and Korine cohorts, Chloë Sevigny and Terry Richardson, as former models and collaborators (Williams). The company is well known for its designer skateboard decks, its collaborations with prominent contemporary visual artists, its hip-hop branding and “inscrutable” web videos. It is also well known for its limited runs of new clothing lines, which help to stoke demand through one-offs – blending street-wear accessibility with the restricted-market and anti-authoritarian sensibility of avant-garde art.Of course, “alternative culture” poses a notorious conundrum for analysis, involving highly subjective demarcations of “mainstream” from “subversive” culture, not to mention “genuine subversion” from mere “corporate alternatives”. As Pierre Bourdieu has argued, the roots of alternative culture lie in the Western tradition of the avant-garde and the “aesthetic gaze” that developed in the nineteenth century (Field 36). In analysing the modernist notion of advanced cultural practice – where art is presented as an alternative to bourgeois academic taste and to the common realm of cultural commodities – Bourdieu proposed a distinction between two types of “fields”, or logics of cultural production. Alternative culture follows what Bourdieu called “the field of restricted production”, which adheres to “art for art’s sake” ideals, where audiences are targeted as if like-minded peers (Field 50). In contrast, the “field of large-scale production” reflects the commercial imperatives of mainstream culture, in which goods are produced for the general public at large. The latter field of large-scale production tends to service pre-established markets, operating in response to public demand. Furthermore, whereas success in the field of restricted production is often indirect, and latent – involving artists who create niche markets without making any concessions to those markets – success in the field of large-scale production is typically more immediate and quantifiable (Field 39). Here we can see that central to the branding of “alternative culture” is the perceived refusal to conform to popular taste and the logic of capitalism more generally is. As Supreme founder James Jebbia stated about his brand in a rare interview: “The less known the better” (Williams). On this, Bourdieu states that, in the field of restricted production, the fundamental principles of all ordinary economies are inversed to create a “loser wins” scenario (Field 39). Profit and cultural esteem become detrimental attributes in this context, potentially tainting the integrity and marginalisation on which alternative products depend. As one ironic hipster t-shirt puts it: “Nothing is any good if other people like it” (Diesel Sweeties).Trash HipstersIn abandoning linear narrative for rough assemblages of vignettes – or “moments” – recorded with an unsteady handheld camera, Trash Humpers positions itself in ironic opposition to mainstream filmmaking, refusing the narrative arcs and unwritten rules of Hollywood film, save for its opening and closing credits. Given Korine’s much publicized appreciation of cinema pioneers, we can understand Trash Humpers as paying homage to independent and DIY film history, including Jack Smith’s Flaming Creatures, William Eggleston’s Stranded in Canton (1973), Andy Warhol’s and Paul Morrissey’s Lonesome Cowboys (1967) and Trash (1970), and John Waters’s Pink Flamingos (1972), all of which jubilantly embraced the “bad” aesthetic of home movies. Posed as fantasized substitutions for mainstream movie-making, such works were also underwritten by the legitimacy of camp as a form of counter-culture critique, blurring parody and documentary to give voice to an array of non-mainstream and counter-cultural identities. The employment of camp in postmodern culture became known not merely as an aesthetic subversion of cultural mores but also as “a gesture of self-legitimation” (Derrida 290), its “failed seriousness” regarded as a critical response to the specific historical problem of being a “culturally over-saturated” subject (Sontag 288).The significant difference between Korine’s film and those of his 1970s-era forbears is precisely the attention he pays to the formal aspects of his medium, revelling in analogue editing glitches to the point of fetishism, in some cases lasting as long as the scenes themselves. Consciously working out-of-step with the media of his day, Trash Humpers in imbued with nostalgia from its very beginning. Whereas Smith, Eggleston, Warhol, Morrissey and Waters blurred fantasy and documentary in ways that raised the social and political identities of their subjects, Korine seems much more interested in “trash” as an aesthetic trope. In following this interest, he rightfully pays homage to the tropes of queer cinema, however, he conveniently leaves behind their underlying commentaries about (hetero-) normative culture. A sequence where the trash humpers visit a whorehouse and amuse themselves by smoking cigars and slapping the ample bottoms of prostitutes in G-strings confirms the heterosexual tenor of the film, which is reiterated throughout by numerous deadpan gay jokes and slurs.Trash Humpers can be understood precisely in terms of Korine’s desire to maintain the aesthetic imperatives of alternative culture, where formal experimentation and the subverting of mainstream genres can provide a certain amount of freedom from explicated meaning, and, in particular, from socio-political commentary. Bourdieu rightly points out how the pleasures of the aesthetic gaze often manifest themselves curiously as form of “deferred pleasure” (353) or “pleasure without enjoyment” (495), which corresponds to Immanuel Kant’s notion of the disinterested nature of aesthetic judgement. Aesthetic dispositions posed in the negative – as in the avant-garde artists who mined primitive and ugly cultural stereotypes – typically use as reference points “facile” or “vulgar” (393) working-class tropes that refer negatively to sensuous pleasure as their major criterion of judgment. For Bourdieu, the pleasures provided by the aesthetic gaze in such instances are not sensual pleasures so much as the pleasures of social distinction – signifying the author’s distance from taste as a form of gratification. Here, it is easy to see how the orgiastic central characters in Trash Humpers might be employed by Korine for a similar end-result. As noted by Jeremiah Kipp in a review of the film: “You don't ‘like’ a movie like Trash Humpers, but I’m very happy such films exist”. Propelled by aesthetic, rather than by social, questions of value, those that “get” the obscure works of alternative culture have a tendency to legitimize them on the basis of the high-degree of formal analysis skills they require. For Bourdieu, this obscures the fact that one’s aesthetic “‘eye’ is a product of history reproduced by education” – a privileged mode of looking, estranged from those unfamiliar with the internal logic of decoding presupposed by the very notion of “aesthetic enjoyment” (2).The rhetorical priority of alternative culture is, in Bourdieu’s terms, the “autonomous” perfection of the form rather than the “heteronomous” attempt to monopolise on it (Field 40). However, such distinctions are, in actuality, more nuanced than Bourdieu sometimes assumed. This is especially true in the context of global digital culture, which makes explicit how the same cultural signs can have vastly different meanings and motivations across different social contexts. This has arguably resulted in the destabilisation of prescriptive analyses of cultural taste, and has contributed to recent “post-critical” advances, in which academics such as Bruno Latour and Rita Felski advocate for cultural analyses and practices that promote relationality and attachment rather than suspicious (critical) dispositions towards marginal and popular subjects alike. Latour’s call for a move away from the “sledge hammer” of critique applies as much to cultural practice as it does to written analysis. Rather than maintaining hierarchical oppositions between authentic versus inauthentic taste, Latour understands culture – and the material world more generally – as having agency alongside, and with, that of the social world.Hipsters with No AlternativeIf, as Karl Spracklen suggests, alternativism is thought of “as a political project of resistance to capitalism, with communicative oppositionality as its defining feature” (254), it is clear that there has been a progressive waning in relevance of the category of “alternative culture” in the age of the Internet, which coincides with the triumph of so-called “neoliberal individualism” (258). To this end, Korine has lost some of his artistic credibility over the course of the 2000s. If viewed negatively, icons of 1990s alternative culture such as Korine can be seen as merely exploiting Dada-like techniques of mimetic exacerbation and symbolic détournement for the purpose of alternative, “arty” branding rather than pertaining to a counter-hegemonic cultural movement (Foster 31). It is within this context of heightened scepticism surrounding alternative culture that the hipster stereotype emerged in cultures throughout the world, as if a contested symbol of the aesthetic gaze in an era of neoliberal identity politics. Whatever the psychological motivations underpinning one’s use of the term, to call someone a hipster is typically to point out that their distinctive alternative or “arty” status appears overstated; their creative decisions considered as if a type of bathos. For detractors of alternative cultural producers such as Korine, he is trying too hard to be different, using the stylised codes of “alternative” to conceal what is essentially his cultural and political immaturity. The hipster – who is rarely ever self-identified – re-emerged in the 2000s to operate as a scapegoat for inauthentic markers of alternative culture, associated with men and women who appear to embrace Realpolitik, sincerity and authentic expressions of identity while remaining tethered to irony, autonomous aesthetics and self-design. Perhaps the real irony of the hipster is the pervasiveness of irony in contemporary culture. R. J Magill Jnr. has argued that “a certain cultural bitterness legitimated through trenchant disbelief” (xi) has come to define the dominant mode of political engagement in many societies since the early 2000s, in response to mass digital information, twenty-four-hour news cycles, and the climate of suspicion produced by information about terrorism threats. He analyses the prominence of political irony in American TV shows including The Daily Show with Jon Stewart, The Simpsons, South Park, The Chappelle Show and The Colbert Report but he also notes its pervasiveness as a twenty-first-century worldview – a distancing that “paradoxically and secretly preserves the ideals of sincerity, honesty and authenticity by momentarily belying its own appearance” (x). Crucially, then, the utterance “hipster” has come to signify instances when irony and aesthetic distance are perceived to have been taken too far, generating the most disdain from those for whom irony, aesthetic discernment and cultural connoisseurship still provide much-needed moments of disconnection from capitalist cultures drowning in commercial hyperbole and grave news hype. Korine himself has acknowledged that Spring Breakers (2013) – his follow-up feature film to Trash Humpers – was created in response to the notion that “alternative culture”, once a legitimate challenge to mainstream taste, had lost its oppositional power with the decentralization of digital culture. He states that he made Spring Breakers at a moment “when there’s no such thing as high or low, it’s all been exploded. There is no underground or above-ground, there’s nothing that’s alternative. We’re at a point of post-everything, so it’s all about finding the spirit inside, and the logic, and making your own connections” (Hawker). In this context, we can understand Trash Humpers as the last of the Korine films to be branded with the authenticity of alternative culture. In Spring Breakers Korine moved from the gritty low-fi sensibility of his previous films and adopted a more digital, light-filled and pastel-coloured palette. Focussing more conventionally on plot than ever before, Spring Breakers follows four college girls who hold up a restaurant in order to fund their spring break vacation. Critic Michael Chaiken noted that the film marks a shift in Korine’s career, from the alternative stylings of the pre-Internet generation to “the cultural heirs [of] the doomed protagonists of Kids: nineties babies, who grew up with the Internet, whose sensibilities have been shaped by the sweeping technological changes that have taken place in the interval between the Clinton and Obama eras” (33).By the end of the 2000s, an entire generation came of age having not experienced a time when the obscure films, music or art of the past took more effort to track down. Having been a key participant in the branding of alternative culture, Korine is in a good position to recall a different, pre-YouTube time – when cultural discernment was still caught up in the authenticity of artistic identity, and when one’s cultural tastes could still operate with a certain amount of freedom from sociological scrutiny. Such ideas seem a long way away from today’s cultural environments, which have been shaped not only by digital media’s promotion of cultural interconnection and mass information, but also by social media’s emphasis on mobilization and ethical awareness. ConclusionI should reiterate here that is not Korine’s lack of seriousness, or irony, alone that marks Trash Humpers as a response to the scepticism surrounding alternative culture symbolised by the figure of the hipster. It is, rather, that Korine’s mock-documentary about juvenile geriatrics works too hard to obscure its implicit social commentary, appearing driven to condemn contemporary capitalism’s exploitations of youthfulness only to divert such “uncool” critical commentaries through unsubtle formal distractions, visual poetics and “bad boy” avant-garde signifiers of authenticity. Before being bludgeoned to death, the unnamed man in the French maid’s outfit recites a poem on a bridge amidst a barrage of fire crackers let off by a nearby humper in a wheelchair. Although easily overlooked, it could, in fact, be a pivotal scene in the film. Spoken with mock high-art pretentions, the final lines of the poem are: So what? Why, I ask, why? Why castigate these creatures whose angelic features are bumping and grinding on trash? Are they not spawned by our greed? Are they not our true seed? Are they not what we’ve bought for our cash? We’ve created this lot, of the ooze and the rot, deliberately and unabashed. Whose orgiastic elation and one mission in creation is to savagely fornicate TRASH!Here, the character’s warning of capitalist overabundance is drowned out by the (aesthetic) shocks of the fire crackers, just as the stereotypical hipster’s ethical ideals are drowned out by their aesthetic excess. The scene also functions as a metaphor for the humpers themselves, whose elderly masks – embodiments of nostalgia – temporarily suspend their real socio-political identities for the sake of role-play. It is in this sense that Trash Humpers is too enamoured with its own artifices – including its anonymous “boys club” mentality – to suggest anything other than the aesthetic distance that has come to mark the failings of the “alternative culture” category. In such instances, alternative taste appears as a rhetorical posture, with Korine asking us to gawk knowingly at the hedonistic and destructive pleasures pursued by the humpers while factoring in, and accepting, our likely disapproval.ReferencesArsel, Zeynep, and Craig J. Thompson. “Demythologizing Consumption Practices: How Consumers Protect Their Field-Dependent Identity Investments from Devaluing Marketplace Myths.” Journal of Consumer Research 37.5 (2011): 791-806.Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Trans. Richard Nice. Cambridge: Harvard University Press, 1984.Bourdieu, Pierre. The Field of Cultural Production Essays on Art and Literature. Edited by Randal Johnson. London: Polity Press, 1993.Carr, David. “Its Edge Intact, Vice Is Chasing Hard News.” New York Times 24 Aug. 2014. 12 Nov. 2016 <https://www.nytimes.com/2014/08/25/business/media/its-edge-intact-vice-is-chasing-hard-news-.html>.Catsoulis, Jeannette. “Geriatric Delinquents, Rampaging through Suburbia.” New York Times 6 May 2010. 1` Nov. 2016 <http://www.nytimes.com/2010/05/07/movies/07trash.html>.Chaiken, Michael. “The Dream Life.” Film Comment (Mar./Apr. 2013): 30-33.D’Angelo, Mike. “Trash Humpers.” Not Coming 18 Sep. 2009. 12 Nov. 2016 <http://www.notcoming.com/reviews/trashhumpers>.Derrida, Jacques. Positions. London: Athlone, 1981.Diesel Sweeties. 1 Nov. 2016 <https://store.dieselsweeties.com/products/nothing-is-any-good-if-other-people-like-it-shirt>.Felski, Rita. The Limits of Critique. Chicago: University of Chicago Press, 2015.Greif, Mark. What Was the Hipster? A Sociological Investigation. New York: n+1 Foundation, 2010.Hawker, Philippa. “Telling Tales Out of School.” Sydney Morning Herald 4 May 2013. 12 Nov. 2016 <http://www.smh.com.au/entertainment/movies/telling-tales-out-of-school-20130503-2ixc3.html>.Hillis, Aaron. “Harmony Korine on Trash Humpers.” IFC 6 May 2009. 12 Nov. 2016 <http://www.ifc.com/2010/05/harmony-korine-2>.Jay Magill Jr., R. Chic Ironic Bitterness. Ann Arbor: University of Michigan Press, 2007.Kipp, Jeremiah. “Clean Off the Dirt, Scrape Off the Blood: An Interview with Trash Humpers Director Harmony Korine.” Slant Magazine 18 Mar. 2011. 1 Nov. 2016 <http://www.slantmagazine.com/house/article/clean-off-the-dirt-scrape-off-the-blood-an-interview-with-trash-humpers-director-harmony-korine>.Latour, Bruno. “Why Has Critique Run Out of Steam? From Matters of Fact to Matters of Concern.” Critical Inquiry 30.2 (2004): 225-248.Maly, Ico, and Varis, Piia. “The 21st-Century Hipster: On Micro-Populations in Times of Superdiversity.” European Journal of Cultural Studies 19.6 (2016): 637–653.McHugh, Gene. “Monday May 10th 2010.” Post Internet. New York: Lulu Press, 2010.Ouellette, Marc. “‘I Know It When I See It’: Style, Simulation and the ‘Short-Circuit Sign’.” Semiotic Review 3 (2013): 1–15.Reeve, Michael. “The Hipster as the Postmodern Dandy: Towards an Extensive Study.” 2013. 12 Nov. 2016. <http://www.academia.edu/3589528/The_hipster_as_the_postmodern_dandy_towards_an_extensive_study>.Schiermer, Bjørn. “Late-Modern Hipsters: New Tendencies in Popular Culture.” Acta Sociologica 57.2 (2014): 167–181.Sontag, Susan. “Notes on Camp.” Against Interpretation. New York: Octagon, 1964/1982. 275-92. Stahl, Geoff. “Mile-End Hipsters and the Unmasking of Montreal’s Proletaroid Intelligentsia; Or How a Bohemia Becomes BOHO.” Adam Art Gallery, Apr. 2010. 12 May 2015 <http://www.adamartgallery.org.nz/wp-content/uploads/2010/04/adamartgallery_vuwsalecture_geoffstahl.pdf>.Williams, Alex. “Guerrilla Fashion: The Story of Supreme.” New York Times 21 Nov. 2012. 1 Nov. 2016 <http://www.nytimes.com/2012/11/22/fashion/guerrilla-fashion-the-story-of-supreme.html>.Žižek, Slavoj. “L’Etat d’Hipster.” Rhinocerotique. Trans. Henry Brulard. Sep. 2009. 3-10.

On the morning of Thursday, 4 May 2006, the United States House Permanent Select Committee on Intelligence held an open hearing entitled “Terrorist Use of the Internet.” The Intelligence committee meeting was scheduled to take place in Room 1302 of the Longworth Office Building, a Depression-era structure with a neoclassical façade. Because of a dysfunctional elevator, some of the congressional representatives were late to the meeting. During the testimony about the newest political applications for cutting-edge digital technology, the microphones periodically malfunctioned, and witnesses complained of “technical problems” several times. By the end of the day it seemed that what was to be remembered about the hearing was the shocking revelation that terrorists were using videogames to recruit young jihadists. The Associated Press wrote a short, restrained article about the hearing that only mentioned “computer games and recruitment videos” in passing. Eager to have their version of the news item picked up, Reuters made videogames the focus of their coverage with a headline that announced, “Islamists Using US Videogames in Youth Appeal.” Like a game of telephone, as the Reuters videogame story was quickly re-run by several Internet news services, each iteration of the title seemed less true to the exact language of the original. One Internet news service changed the headline to “Islamic militants recruit using U.S. video games.” Fox News re-titled the story again to emphasise that this alert about technological manipulation was coming from recognised specialists in the anti-terrorism surveillance field: “Experts: Islamic Militants Customizing Violent Video Games.” As the story circulated, the body of the article remained largely unchanged, in which the Reuters reporter described the digital materials from Islamic extremists that were shown at the congressional hearing. During the segment that apparently most captured the attention of the wire service reporters, eerie music played as an English-speaking narrator condemned the “infidel” and declared that he had “put a jihad” on them, as aerial shots moved over 3D computer-generated images of flaming oil facilities and mosques covered with geometric designs. Suddenly, this menacing voice-over was interrupted by an explosion, as a virtual rocket was launched into a simulated military helicopter. The Reuters reporter shared this dystopian vision from cyberspace with Western audiences by quoting directly from the chilling commentary and describing a dissonant montage of images and remixed sound. “I was just a boy when the infidels came to my village in Blackhawk helicopters,” a narrator’s voice said as the screen flashed between images of street-level gunfights, explosions and helicopter assaults. Then came a recording of President George W. Bush’s September 16, 2001, statement: “This crusade, this war on terrorism, is going to take a while.” It was edited to repeat the word “crusade,” which Muslims often define as an attack on Islam by Christianity. According to the news reports, the key piece of evidence before Congress seemed to be a film by “SonicJihad” of recorded videogame play, which – according to the experts – was widely distributed online. Much of the clip takes place from the point of view of a first-person shooter, seen as if through the eyes of an armed insurgent, but the viewer also periodically sees third-person action in which the player appears as a running figure wearing a red-and-white checked keffiyeh, who dashes toward the screen with a rocket launcher balanced on his shoulder. Significantly, another of the player’s hand-held weapons is a detonator that triggers remote blasts. As jaunty music plays, helicopters, tanks, and armoured vehicles burst into smoke and flame. Finally, at the triumphant ending of the video, a green and white flag bearing a crescent is hoisted aloft into the sky to signify victory by Islamic forces. To explain the existence of this digital alternative history in which jihadists could be conquerors, the Reuters story described the deviousness of the country’s terrorist opponents, who were now apparently modifying popular videogames through their wizardry and inserting anti-American, pro-insurgency content into U.S.-made consumer technology. One of the latest video games modified by militants is the popular “Battlefield 2” from leading video game publisher, Electronic Arts Inc of Redwood City, California. Jeff Brown, a spokesman for Electronic Arts, said enthusiasts often write software modifications, known as “mods,” to video games. “Millions of people create mods on games around the world,” he said. “We have absolutely no control over them. It’s like drawing a mustache on a picture.” Although the Electronic Arts executive dismissed the activities of modders as a “mustache on a picture” that could only be considered little more than childish vandalism of their off-the-shelf corporate product, others saw a more serious form of criminality at work. Testifying experts and the legislators listening on the committee used the video to call for greater Internet surveillance efforts and electronic counter-measures. Within twenty-four hours of the sensationalistic news breaking, however, a group of Battlefield 2 fans was crowing about the idiocy of reporters. The game play footage wasn’t from a high-tech modification of the software by Islamic extremists; it had been posted on a Planet Battlefield forum the previous December of 2005 by a game fan who had cut together regular game play with a Bush remix and a parody snippet of the soundtrack from the 2004 hit comedy film Team America. The voice describing the Black Hawk helicopters was the voice of Trey Parker of South Park cartoon fame, and – much to Parker’s amusement – even the mention of “goats screaming” did not clue spectators in to the fact of a comic source. Ironically, the moment in the movie from which the sound clip is excerpted is one about intelligence gathering. As an agent of Team America, a fictional elite U.S. commando squad, the hero of the film’s all-puppet cast, Gary Johnston, is impersonating a jihadist radical inside a hostile Egyptian tavern that is modelled on the cantina scene from Star Wars. Additional laughs come from the fact that agent Johnston is accepted by the menacing terrorist cell as “Hakmed,” despite the fact that he utters a series of improbable clichés made up of incoherent stereotypes about life in the Middle East while dressed up in a disguise made up of shoe polish and a turban from a bathroom towel. The man behind the “SonicJihad” pseudonym turned out to be a twenty-five-year-old hospital administrator named Samir, and what reporters and representatives saw was nothing more exotic than game play from an add-on expansion pack of Battlefield 2, which – like other versions of the game – allows first-person shooter play from the position of the opponent as a standard feature. While SonicJihad initially joined his fellow gamers in ridiculing the mainstream media, he also expressed astonishment and outrage about a larger politics of reception. In one interview he argued that the media illiteracy of Reuters potentially enabled a whole series of category errors, in which harmless gamers could be demonised as terrorists. It wasn’t intended for the purpose what it was portrayed to be by the media. So no I don’t regret making a funny video . . . why should I? The only thing I regret is thinking that news from Reuters was objective and always right. The least they could do is some online research before publishing this. If they label me al-Qaeda just for making this silly video, that makes you think, what is this al-Qaeda? And is everything al-Qaeda? Although Sonic Jihad dismissed his own work as “silly” or “funny,” he expected considerably more from a credible news agency like Reuters: “objective” reporting, “online research,” and fact-checking before “publishing.” Within the week, almost all of the salient details in the Reuters story were revealed to be incorrect. SonicJihad’s film was not made by terrorists or for terrorists: it was not created by “Islamic militants” for “Muslim youths.” The videogame it depicted had not been modified by a “tech-savvy militant” with advanced programming skills. Of course, what is most extraordinary about this story isn’t just that Reuters merely got its facts wrong; it is that a self-identified “parody” video was shown to the august House Intelligence Committee by a team of well-paid “experts” from the Science Applications International Corporation (SAIC), a major contractor with the federal government, as key evidence of terrorist recruitment techniques and abuse of digital networks. Moreover, this story of media illiteracy unfolded in the context of a fundamental Constitutional debate about domestic surveillance via communications technology and the further regulation of digital content by lawmakers. Furthermore, the transcripts of the actual hearing showed that much more than simple gullibility or technological ignorance was in play. Based on their exchanges in the public record, elected representatives and government experts appear to be keenly aware that the digital discourses of an emerging information culture might be challenging their authority and that of the longstanding institutions of knowledge and power with which they are affiliated. These hearings can be seen as representative of a larger historical moment in which emphatic declarations about prohibiting specific practices in digital culture have come to occupy a prominent place at the podium, news desk, or official Web portal. This environment of cultural reaction can be used to explain why policy makers’ reaction to terrorists’ use of networked communication and digital media actually tells us more about our own American ideologies about technology and rhetoric in a contemporary information environment. When the experts come forward at the Sonic Jihad hearing to “walk us through the media and some of the products,” they present digital artefacts of an information economy that mirrors many of the features of our own consumption of objects of electronic discourse, which seem dangerously easy to copy and distribute and thus also create confusion about their intended meanings, audiences, and purposes. From this one hearing we can see how the reception of many new digital genres plays out in the public sphere of legislative discourse. Web pages, videogames, and Weblogs are mentioned specifically in the transcript. The main architecture of the witnesses’ presentation to the committee is organised according to the rhetorical conventions of a PowerPoint presentation. Moreover, the arguments made by expert witnesses about the relationship of orality to literacy or of public to private communications in new media are highly relevant to how we might understand other important digital genres, such as electronic mail or text messaging. The hearing also invites consideration of privacy, intellectual property, and digital “rights,” because moral values about freedom and ownership are alluded to by many of the elected representatives present, albeit often through the looking glass of user behaviours imagined as radically Other. For example, terrorists are described as “modders” and “hackers” who subvert those who properly create, own, legitimate, and regulate intellectual property. To explain embarrassing leaks of infinitely replicable digital files, witness Ron Roughead says, “We’re not even sure that they don’t even hack into the kinds of spaces that hold photographs in order to get pictures that our forces have taken.” Another witness, Undersecretary of Defense for Policy and International Affairs, Peter Rodman claims that “any video game that comes out, as soon as the code is released, they will modify it and change the game for their needs.” Thus, the implication of these witnesses’ testimony is that the release of code into the public domain can contribute to political subversion, much as covert intrusion into computer networks by stealthy hackers can. However, the witnesses from the Pentagon and from the government contractor SAIC often present a contradictory image of the supposed terrorists in the hearing transcripts. Sometimes the enemy is depicted as an organisation of technological masterminds, capable of manipulating the computer code of unwitting Americans and snatching their rightful intellectual property away; sometimes those from the opposing forces are depicted as pre-modern and even sub-literate political innocents. In contrast, the congressional representatives seem to focus on similarities when comparing the work of “terrorists” to the everyday digital practices of their constituents and even of themselves. According to the transcripts of this open hearing, legislators on both sides of the aisle express anxiety about domestic patterns of Internet reception. Even the legislators’ own Web pages are potentially disruptive electronic artefacts, particularly when the demands of digital labour interfere with their duties as lawmakers. Although the subject of the hearing is ostensibly terrorist Websites, Representative Anna Eshoo (D-California) bemoans the difficulty of maintaining her own official congressional site. As she observes, “So we are – as members, I think we’re very sensitive about what’s on our Website, and if I retained what I had on my Website three years ago, I’d be out of business. So we know that they have to be renewed. They go up, they go down, they’re rebuilt, they’re – you know, the message is targeted to the future.” In their questions, lawmakers identify Weblogs (blogs) as a particular area of concern as a destabilising alternative to authoritative print sources of information from established institutions. Representative Alcee Hastings (D-Florida) compares the polluting power of insurgent bloggers to that of influential online muckrakers from the American political Right. Hastings complains of “garbage on our regular mainstream news that comes from blog sites.” Representative Heather Wilson (R-New Mexico) attempts to project a media-savvy persona by bringing up the “phenomenon of blogging” in conjunction with her questions about jihadist Websites in which she notes how Internet traffic can be magnified by cooperative ventures among groups of ideologically like-minded content-providers: “These Websites, and particularly the most active ones, are they cross-linked? And do they have kind of hot links to your other favorite sites on them?” At one point Representative Wilson asks witness Rodman if he knows “of your 100 hottest sites where the Webmasters are educated? What nationality they are? Where they’re getting their money from?” In her questions, Wilson implicitly acknowledges that Web work reflects influences from pedagogical communities, economic networks of the exchange of capital, and even potentially the specific ideologies of nation-states. It is perhaps indicative of the government contractors’ anachronistic worldview that the witness is unable to answer Wilson’s question. He explains that his agency focuses on the physical location of the server or ISP rather than the social backgrounds of the individuals who might be manufacturing objectionable digital texts. The premise behind the contractors’ working method – surveilling the technical apparatus not the social network – may be related to other beliefs expressed by government witnesses, such as the supposition that jihadist Websites are collectively produced and spontaneously emerge from the indigenous, traditional, tribal culture, instead of assuming that Iraqi insurgents have analogous beliefs, practices, and technological awareness to those in first-world countries. The residual subtexts in the witnesses’ conjectures about competing cultures of orality and literacy may tell us something about a reactionary rhetoric around videogames and digital culture more generally. According to the experts before Congress, the Middle Eastern audience for these videogames and Websites is limited by its membership in a pre-literate society that is only capable of abortive cultural production without access to knowledge that is archived in printed codices. Sometimes the witnesses before Congress seem to be unintentionally channelling the ideas of the late literacy theorist Walter Ong about the “secondary orality” associated with talky electronic media such as television, radio, audio recording, or telephone communication. Later followers of Ong extend this concept of secondary orality to hypertext, hypermedia, e-mail, and blogs, because they similarly share features of both speech and written discourse. Although Ong’s disciples celebrate this vibrant reconnection to a mythic, communal past of what Kathleen Welch calls “electric rhetoric,” the defence industry consultants express their profound state of alarm at the potentially dangerous and subversive character of this hybrid form of communication. The concept of an “oral tradition” is first introduced by the expert witnesses in the context of modern marketing and product distribution: “The Internet is used for a variety of things – command and control,” one witness states. “One of the things that’s missed frequently is how and – how effective the adversary is at using the Internet to distribute product. They’re using that distribution network as a modern form of oral tradition, if you will.” Thus, although the Internet can be deployed for hierarchical “command and control” activities, it also functions as a highly efficient peer-to-peer distributed network for disseminating the commodity of information. Throughout the hearings, the witnesses imply that unregulated lateral communication among social actors who are not authorised to speak for nation-states or to produce legitimated expert discourses is potentially destabilising to political order. Witness Eric Michael describes the “oral tradition” and the conventions of communal life in the Middle East to emphasise the primacy of speech in the collective discursive practices of this alien population: “I’d like to point your attention to the media types and the fact that the oral tradition is listed as most important. The other media listed support that. And the significance of the oral tradition is more than just – it’s the medium by which, once it comes off the Internet, it is transferred.” The experts go on to claim that this “oral tradition” can contaminate other media because it functions as “rumor,” the traditional bane of the stately discourse of military leaders since the classical era. The oral tradition now also has an aspect of rumor. A[n] event takes place. There is an explosion in a city. Rumor is that the United States Air Force dropped a bomb and is doing indiscriminate killing. This ends up being discussed on the street. It ends up showing up in a Friday sermon in a mosque or in another religious institution. It then gets recycled into written materials. Media picks up the story and broadcasts it, at which point it’s now a fact. In this particular case that we were telling you about, it showed up on a network television, and their propaganda continues to go back to this false initial report on network television and continue to reiterate that it’s a fact, even though the United States government has proven that it was not a fact, even though the network has since recanted the broadcast. In this example, many-to-many discussion on the “street” is formalised into a one-to many “sermon” and then further stylised using technology in a one-to-many broadcast on “network television” in which “propaganda” that is “false” can no longer be disputed. This “oral tradition” is like digital media, because elements of discourse can be infinitely copied or “recycled,” and it is designed to “reiterate” content. In this hearing, the word “rhetoric” is associated with destructive counter-cultural forces by the witnesses who reiterate cultural truisms dating back to Plato and the Gorgias. For example, witness Eric Michael initially presents “rhetoric” as the use of culturally specific and hence untranslatable figures of speech, but he quickly moves to an outright castigation of the entire communicative mode. “Rhetoric,” he tells us, is designed to “distort the truth,” because it is a “selective” assembly or a “distortion.” Rhetoric is also at odds with reason, because it appeals to “emotion” and a romanticised Weltanschauung oriented around discourses of “struggle.” The film by SonicJihad is chosen as the final clip by the witnesses before Congress, because it allegedly combines many different types of emotional appeal, and thus it conveniently ties together all of the themes that the witnesses present to the legislators about unreliable oral or rhetorical sources in the Middle East: And there you see how all these products are linked together. And you can see where the games are set to psychologically condition you to go kill coalition forces. You can see how they use humor. You can see how the entire campaign is carefully crafted to first evoke an emotion and then to evoke a response and to direct that response in the direction that they want. Jihadist digital products, especially videogames, are effective means of manipulation, the witnesses argue, because they employ multiple channels of persuasion and carefully sequenced and integrated subliminal messages. To understand the larger cultural conversation of the hearing, it is important to keep in mind that the related argument that “games” can “psychologically condition” players to be predisposed to violence is one that was important in other congressional hearings of the period, as well one that played a role in bills and resolutions that were passed by the full body of the legislative branch. In the witness’s testimony an appeal to anti-game sympathies at home is combined with a critique of a closed anti-democratic system abroad in which the circuits of rhetorical production and their composite metonymic chains are described as those that command specific, unvarying, robotic responses. This sharp criticism of the artful use of a presentation style that is “crafted” is ironic, given that the witnesses’ “compilation” of jihadist digital material is staged in the form of a carefully structured PowerPoint presentation, one that is paced to a well-rehearsed rhythm of “slide, please” or “next slide” in the transcript. The transcript also reveals that the members of the House Intelligence Committee were not the original audience for the witnesses’ PowerPoint presentation. Rather, when it was first created by SAIC, this “expert” presentation was designed for training purposes for the troops on the ground, who would be facing the challenges of deployment in hostile terrain. According to the witnesses, having the slide show showcased before Congress was something of an afterthought. Nonetheless, Congressman Tiahrt (R-KN) is so impressed with the rhetorical mastery of the consultants that he tries to appropriate it. As Tiarht puts it, “I’d like to get a copy of that slide sometime.” From the hearing we also learn that the terrorists’ Websites are threatening precisely because they manifest a polymorphously perverse geometry of expansion. For example, one SAIC witness before the House Committee compares the replication and elaboration of digital material online to a “spiderweb.” Like Representative Eshoo’s site, he also notes that the terrorists’ sites go “up” and “down,” but the consultant is left to speculate about whether or not there is any “central coordination” to serve as an organising principle and to explain the persistence and consistency of messages despite the apparent lack of a single authorial ethos to offer a stable, humanised, point of reference. In the hearing, the oft-cited solution to the problem created by the hybridity and iterability of digital rhetoric appears to be “public diplomacy.” Both consultants and lawmakers seem to agree that the damaging messages of the insurgents must be countered with U.S. sanctioned information, and thus the phrase “public diplomacy” appears in the hearing seven times. However, witness Roughhead complains that the protean “oral tradition” and what Henry Jenkins has called the “transmedia” character of digital culture, which often crosses several platforms of traditional print, projection, or broadcast media, stymies their best rhetorical efforts: “I think the point that we’ve tried to make in the briefing is that wherever there’s Internet availability at all, they can then download these – these programs and put them onto compact discs, DVDs, or post them into posters, and provide them to a greater range of people in the oral tradition that they’ve grown up in. And so they only need a few Internet sites in order to distribute and disseminate the message.” Of course, to maintain their share of the government market, the Science Applications International Corporation also employs practices of publicity and promotion through the Internet and digital media. They use HTML Web pages for these purposes, as well as PowerPoint presentations and online video. The rhetoric of the Website of SAIC emphasises their motto “From Science to Solutions.” After a short Flash film about how SAIC scientists and engineers solve “complex technical problems,” the visitor is taken to the home page of the firm that re-emphasises their central message about expertise. The maps, uniforms, and specialised tools and equipment that are depicted in these opening Web pages reinforce an ethos of professional specialisation that is able to respond to multiple threats posed by the “global war on terror.” By 26 June 2006, the incident finally was being described as a “Pentagon Snafu” by ABC News. From the opening of reporter Jake Tapper’s investigative Webcast, established government institutions were put on the spot: “So, how much does the Pentagon know about videogames? Well, when it came to a recent appearance before Congress, apparently not enough.” Indeed, the very language about “experts” that was highlighted in the earlier coverage is repeated by Tapper in mockery, with the significant exception of “independent expert” Ian Bogost of the Georgia Institute of Technology. If the Pentagon and SAIC deride the legitimacy of rhetoric as a cultural practice, Bogost occupies himself with its defence. In his recent book Persuasive Games: The Expressive Power of Videogames, Bogost draws upon the authority of the “2,500 year history of rhetoric” to argue that videogames represent a significant development in that cultural narrative. Given that Bogost and his Watercooler Games Weblog co-editor Gonzalo Frasca were actively involved in the detective work that exposed the depth of professional incompetence involved in the government’s line-up of witnesses, it is appropriate that Bogost is given the final words in the ABC exposé. As Bogost says, “We should be deeply bothered by this. We should really be questioning the kind of advice that Congress is getting.” Bogost may be right that Congress received terrible counsel on that day, but a close reading of the transcript reveals that elected officials were much more than passive listeners: in fact they were lively participants in a cultural conversation about regulating digital media. After looking at the actual language of these exchanges, it seems that the persuasiveness of the misinformation from the Pentagon and SAIC had as much to do with lawmakers’ preconceived anxieties about practices of computer-mediated communication close to home as it did with the contradictory stereotypes that were presented to them about Internet practices abroad. In other words, lawmakers found themselves looking into a fun house mirror that distorted what should have been familiar artefacts of American popular culture because it was precisely what they wanted to see. References ABC News. “Terrorist Videogame?” Nightline Online. 21 June 2006. 22 June 2006 http://abcnews.go.com/Video/playerIndex?id=2105341>. Bogost, Ian. Persuasive Games: Videogames and Procedural Rhetoric. Cambridge, MA: MIT Press, 2007. Game Politics. “Was Congress Misled by ‘Terrorist’ Game Video? We Talk to Gamer Who Created the Footage.” 11 May 2006. http://gamepolitics.livejournal.com/285129.html#cutid1>. Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: New York UP, 2006. julieb. “David Morgan Is a Horrible Writer and Should Be Fired.” Online posting. 5 May 2006. Dvorak Uncensored Cage Match Forums. http://cagematch.dvorak.org/index.php/topic,130.0.html>. Mahmood. “Terrorists Don’t Recruit with Battlefield 2.” GGL Global Gaming. 16 May 2006 http://www.ggl.com/news.php?NewsId=3090>. Morgan, David. “Islamists Using U.S. Video Games in Youth Appeal.” Reuters online news service. 4 May 2006 http://today.reuters.com/news/ArticleNews.aspx?type=topNews &storyID=2006-05-04T215543Z_01_N04305973_RTRUKOC_0_US-SECURITY- VIDEOGAMES.xml&pageNumber=0&imageid=&cap=&sz=13&WTModLoc= NewsArt-C1-ArticlePage2>. Ong, Walter J. Orality and Literacy: The Technologizing of the Word. London/New York: Methuen, 1982. Parker, Trey. Online posting. 7 May 2006. 9 May 2006 http://www.treyparker.com>. Plato. “Gorgias.” Plato: Collected Dialogues. Princeton: Princeton UP, 1961. Shrader, Katherine. “Pentagon Surfing Thousands of Jihad Sites.” Associated Press 4 May 2006. SonicJihad. “SonicJihad: A Day in the Life of a Resistance Fighter.” Online posting. 26 Dec. 2005. Planet Battlefield Forums. 9 May 2006 http://www.forumplanet.com/planetbattlefield/topic.asp?fid=13670&tid=1806909&p=1>. Tapper, Jake, and Audery Taylor. “Terrorist Video Game or Pentagon Snafu?” ABC News Nightline 21 June 2006. 30 June 2006 http://abcnews.go.com/Nightline/Technology/story?id=2105128&page=1>. U.S. Congressional Record. Panel I of the Hearing of the House Select Intelligence Committee, Subject: “Terrorist Use of the Internet for Communications.” Federal News Service. 4 May 2006. Welch, Kathleen E. Electric Rhetoric: Classical Rhetoric, Oralism, and the New Literacy. Cambridge, MA: MIT Press, 1999. Citation reference for this article MLA Style Losh, Elizabeth. "Artificial Intelligence: Media Illiteracy and the SonicJihad Debacle in Congress." M/C Journal 10.5 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0710/08-losh.php>. APA Style Losh, E. (Oct. 2007) "Artificial Intelligence: Media Illiteracy and the SonicJihad Debacle in Congress," M/C Journal, 10(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0710/08-losh.php>.

Blaise Pascal once offered the following advice to those perennially worried about knowing fact from fiction: “how few things can be demonstrated! Proofs only convince the mind; custom provides the strongest and most firmly held proofs” (148). The concern about whether or not God existed was for Pascal an unnecessary anxiety: the question couldn’t be answered by human knowledge, and so ultimately one just had to “wager” on whatever stood to be most beneficial, act as if this chosen answer was true, and the mind would eventually fall into line. For Pascal, if one stood to gain from believing in the truth of an idea then the great problems of epistemology could be reduced to a relatively simple and pragmatic calculation of benefit. Doubt, suspicion, and all the attendant epistemological worries would only count as wasted time.It might at first seem surprising that this somewhat antiquated idea of Pascal’s, conceived in seventeenth-century France, appears at the core of a novel by a writer considered to be the quintessential “modern” author, David Foster Wallace. But consider the following advice offered to a recovering drug addict in Wallace’s 1996 novelInfinite Jest. To reap the benefits of the AA program, Don Gately, one of the central characters of the novel, is told by resident counsellor Gene M to imagine he is holding a box of Betty Crocker Cake Mix. The box of cake mix represents Boston AA. Gately is advised that the “box came with directions on the side any eight-year-old could read”: Gene M. said all Gately had to do was for fuck’s sake give himself a break and relax and for once shut up and just follow the directions on the side of the fucking box. It didn’t matter one fuckola whether Gately like believed a cake would result, or whether he understood the like fucking baking-chemistry of howa cake would result: if he just followed the motherfucking directions, and had sense enough to get help from slightly more experienced bakers to keep from fucking the directions up if he got confused somehow, but basically the point was if he just followed the childish directions, a cake would result. He’d have his cake. (467) This advice indeed seems lifted from Pascal almost verbatim (plus or minus a few turns of phrase, of course):Learn from those who have been bound like you, and who now wager all they have. They are people who know the road you want to follow and have been cured of the affliction of which you want to be cured. Follow the way by which they began ... (Pascal 156).While the Pascalian influence on Wallace’s work is perhaps interesting in its own right, and there are certainly more extensive and capable analyses of it to be done than mine, I invoke it here to highlight a particular emphasis in Wallace’s work that I think exceeds the framework through which it is usually understood. Wallace’s fiction is commonly considered an attack on irony, being supposedly at the vanguard of a movement in recent American literature that Adam Kelly, in an illuminating analysis, has called the “New Sincerity” (131). But before anything else irony is a particular trope of understanding, a way of situating oneself in regards to an object of knowledge, and so Wallace’s work needs not only to be understood in terms of what a culture considers unhip, trite, and sentimental, but how it comes to decide upon those things at all, how it chooses to understand its reality. Inspired by the Pascalian influence apparent in Wallace’s portrayal of the Alcoholics Anonymous program, I intend to shift the focus away from issues of irony and sincerity and instead consider the importance of the epistemological tropes of suspicion and trust in reading Infinite Jest. More than anything else Wallace’s depiction of the AA program tells us he is interested, like Pascal, in the existential implications of suspicion, in what might be lost in following doubt to its most “radical” conclusions. I SuspicionIt is fruitful to view Western intellectual practice as exhibiting suspicious tendencies. From Descartes’s “hyperbolic doubt,” the “hermeneutics of suspicion” that Ricœur and Foucault see coming out of the legacy of Marx, Nietzsche, and Freud, to the endless “paranoia of the postmodern” that typifies recent academic trends (Bywater 79), the refusal to trust the veracity of surfaces has been a driving force in post-Enlightenment thought, becoming largely inextricable from how we understand the world. As a mode of critique, suspicion has a particular anxiety about the way fiction masquerades as truth. When a suspicious mind reads a given object, be it an advertisement, a novel, a film, a supermarket, or an egg carton, it most often proceeds by first separating the text into what Paul Ricœur calls an “architecture of meaning” (18), defining those elements it considers fictive and those it considers truer, more essential, in order to locate what it considers “the intentional structure of double meaning” (Ricœur 9). Beneath the fictive surface of a novel, for example, it might find hidden the “truer” forces of social repression and patriarchy. Behind the innocence of a bedtime tale it might discern the truth of the placating purpose of story, or the tyranny of naïve narrative closure, the fantasies of teleology and final consonance. And behind Pascal’s wager it might find a weak submission to ideological fictions, a confirmation of the processes of social conditioning.Over the years suspicion has doubtless proved itself a crucial resource for various politics of resistance, for challenging ossified structures of knowledge, and for exposing heinous fictions that definitely needed exposing. But some contend that these once fruitful intellectual practices have become so deeply entrenched that they are now the things to be suspiciously overcome. Rather than being a subversive tactic of liberation, the “routinisation” of suspicion can stand to mark a hermeneutic stasis. It can even, as Bruno Latour argues, mire important social and ecological issues in counterproductive doubt, the most obvious example being the tiresome “debates” about global warming:the danger would no longer be coming from an excessive confidence in ideological arguments posturing as matters of fact—as we have learned to combat so efficiently in the past—but from an excessive distrust of good matters of fact disguised as bad ideological biases! (Latour 227) The work of David Foster Wallace can be considered another example of such a discourse, one that definitely admits suspicion’s hermeneutic force, but is a little uneasy with its predominance. While Wallace’s work is most commonly understood in relation to irony, irony itself, as I have suggested, can in turn be understood as related to a subtending culture of suspicion and cynicism. In his 1993 essay “E Unibus Pluram: Television and U.S. Fiction,” Wallace notes a complex interaction between knowledge, suspicion, art, and televisual culture, in which a particular rendering of irony—a mistrust in clichéd sentiment and all those words we now so confidently put between “shudder” quotes—is commoditised and exploited in order to constantly provide the psychological payoffs of knowingness, those feelings of superiority, safety, and power that come from suspiciously seeing through to the “truth” of things. In Wallace’s reading, ostensibly postmodern advertisements draw attention to their fictive layers to make viewers feel attuned to the supposed truth of their intent. But this access to the “truth” is itself just another fiction aimed to mislead them into commercial pliancy:[TV can] ease that painful tension between Joe’s need to transcend the crowd and his status as Audience member. For to the extent that TV can flatter Joe about “seeing through” the pretentiousness and hypocrisy of outdated values, it can induce in him precisely the feeling of canny superiority it’s taught him to crave, and can keep him dependent on the cynical TV-watching that alone affords this feeling. (Wallace 180) The ironic viewer who would stand above these deliberately naive appeals would then also, and perhaps before anything else, be a suspicious reader, someone predisposed to seeing through the “surface” of a text. Irony, in these examples, would even be alike to the effect gained from “successful” suspicion, something like its reward, rather than an epistemological mode in itself. While in his essay Wallace ultimately intends that his critique of such tendencies will highlight the way much contemporary fiction struggles to subvert this culture, and thus we cannot help but look to his own work to see how it supposedly “attacks” irony, it is also just as crucial to consider its embedded critique of suspicious hermeneutics.II Trust In Infinite Jest’s portrayal of Boston’s Alcoholics and Narcotics Anonymous programs, Wallace attempts to propose a kind of neo-Pascalian “wager.” And like Pascal’s, Wallace’s is based on the willed performance of that most critically maligned of concepts, trust: that is, a willingness to become, like Pascal, blasé with truth as long as it stands to be beneficial. Within the novel the fictitious Ennet Drug and Alcohol House, along with the adjacent Enfield Tennis Academy, is staged as a school of personal (re)development, dramatising approaches to self-help in the damaged landscape of the Year of the Depend Adult Undergarment’s Boston. And it is here where Don Gately, the novel’s unlikely hero, has ended up on his quest to escape the “spider” of addiction. As it openly admits, Alcoholics Anonymous is an easy target for a suspicious mode of thought bent on locating fictions because it “literally makes no sense” (368). But like Pascal, Wallace’s AA submits the problem of truth and error to a more primary consideration of benefit, and celebrates the power of language and custom to create realities, rather than being suspicious of this process of linguistic mediation. So it is a system, like signification itself, that functions on “the carrot-and-donkey aspect of trudging to Meetings only to be told to trudge to still more Meetings” (1001); like any transcendental signifier, the revelations it hints at can never truly arrive. It is also based on assertions that “do not make anything resembling rational sense” (1002). For example, Joelle van Dyne battles with the AA precept “I’m Here But For the Grace of God.” She finds the phrase is literally senseless, and regardless of whether she hears it or not it’s meaningless, and that the foamy enthusiasm with which these folks can say what in fact means nothing at all makes her want to put her head in a Radarange. (366) But perhaps the strongest reason Joelle feels uncomfortable with the present example is that she senses in its obvious untruth the potential truth of all meaning’s fictitiousness, how all sense might just be made up of nonsense of one form or another. Within the AA program these words are a means to an end, rather than something to be resisted or deconstructed.To exist within Infinite Jest’s AA program is thus to be uncomfortably close to the linguistic production of reality, to work at meaning’s coalface, exposed to the flames of its fictitiousness, but all the while being forced to deny this very vista. So while AA is a process firmly against the mechanisms of denial (one of its favourite slogans is “Denial is not a river in Egypt” [272]), it is also based on a paradoxical imperative to deny the status of meaning as a production, as well as the denial of the significance of this paradox: For me, the slogan [Analysis-Paralysis] means there’s no set way to argue intellectual-type stuff about the Program [...] You can’t think about it like an intellectual thing [...] You can analyse it til you’re breaking tables with your forehead and find a cause to walk away, back Out There, where the Disease is. Or you can stay and hang in and do the best you can. (1002) Although it is common knowledge that its precepts are full of logical contradiction and impasse, that it is a blatantly fictitious enterprise, the difficulty which Wallace’s portrayal poses, both for his characters and for his readers schooled in suspicious hermeneutics, is that as a process of healing the AA program somehow seems to work with great efficacy. Enter the redemption of Don Gately.Despite his initial reluctance to embrace the program’s undertakings, much to his surprise Gately finds it having a definite effect: he “all of a sudden realised that quite a few days had gone by since he’d even thought about Demerol or Talwin or even weed” (467). The bracketing of the desire to know and interpret, and the willed trust in the efficacy of a process that one cannot know by necessity, initially frustrates him, and even makes him suspicious: “He couldn’t believe it. He wasn’t Grateful so much as kind of suspicious about it, the Removal [of his addiction]” (468). And all this can definitely be intellectually uncomfortable for a reader well-versed in suspicious hermeneutics, let alone the somewhat unintellectual Gately:It did, yes, tentatively seem maybe actually to be working, but Gately couldn’t for the life of him figure out how just sitting on haemorrhoid-hostile folding chairs every night looking at nose-pores and listening to clichés could work. Nobody’s ever been able to figure AA out, is another binding commonality. (349)Ultimately the AA program presents the novel’s hero and its readers with an impasse, a block to what one knows and can critique, refuting the basic assumption that links narrative progression and change with the acquisition of knowledge. While others in AA seek to understand and debunk it, they also significantly fail to achieve the kind of recovery experienced by Gately. As Elizabeth Freudenthal suggests, “despite the problems one may have with AA as a vehicle for healthy living, Gately’s mode of fighting addiction is the only one in the novel that actually works” (191). And while Freudenthal suggests that Gately’s success comes through a ritual “anti-interiority,” a “mode of identity founded in the material world of both objects and biological bodies and divested from an essentialist notion of inner emotional, psychological, and spiritual life” (192), to me it seems that were Gately unable to resist the pleasures of the suspicious mind then little of his “abiding” in the exterior world would be possible. Ultimately, what Gately achieves comes through a kind of epistemological “trust.”III Reading TrustfullyBy occupying such a central place in the narrative, this neo-Pascalian wager around which the novel’s AA program is built is obviously intended to bear not only on its characters, but on how the novel is read. So how might we also “learn” from such Pascalian gambits? How might we read the novel without suspicion? What might we gain by becoming Don Gately? What, on the other hand, might we lose? While this essay is far too short to conduct this kind of investigation in full, a few points might still be raised in lieu of a proper conclusion.By openly submitting to his ignorance of what his actions mean, Gately is able to approach success, conclusion, and fulfillment. What the novel’s ending has in store for him is another question altogether, but Freudenthal views Gately’s closing scenes as the apotheosis of his “anti-intellectual endeavor” (206). Gately’s narrative thus also presents a challenge to readers thoroughly led by suspicious hermeneutics, and encourages us, if we are to accept this notion that is key to Infinite Jest (but we can, of course, refuse not to), to place ourselves in the position of the AA attendee, as a subject of the text’s discourse, not in possession of knowledge through which to critique it and scale that “architecture of meaning.” Many aspects of the novel of course impel us to read suspiciously, to gather clues like detectives, to interrogate the veracity of claims. Consider, for example, the compounded conflicting accounts of whether Joelle van Dyne has been horribly disfigured by acid, or is sublimely beautiful (compare, for instance, the explanation given on 538 with that on 795). Yet ultimately, recalling the AA ethos, the narrative makes it difficult for us to successfully execute these suspicious reading practices. Similar to a text like Thomas Pynchon’s Gravity’s Rainbow, that for Brian McHale ultimately resists any attempt to answer the many questions it poses (90-91), Infinite Jest frequently invokes a logic of what we might call epistemological equivocation. Either the veil-wearing Joelle van Dyne is hideously and improbably deformed or is superlatively beautiful; either AA is a vapid institution of brainwashing or is the key to recovery from substance abuse; either the novel’s matriarch, Avril Incandenza, is a sinister “black widow” or a superlatively caring mother. The list goes on.To some extent, the plethora of conflicting accounts simply engages an “innocent” readerly curiosity. But regardless of the precise nature of this hermeneutic desire stimulated by the text, one cannot help but feel, as Marshall Boswell suggests, that “Wallace’s point seems to be that these issues are not the issue” (175). If we read the novel attempting to harmonise these elements, interrogating the reliability of the given textual evidence, we will be sorely disappointed, if not doomed to the “analysis paralysis” that is much feared in the novel’s AA program. While one of the pleasures Wallace’s novel offers readers is the encouragement to participate actively in the text, it is also something it is wary of. And this is where the rub of the book lies. Just like in AA, we can potentially keep analysing its ambiguities forever; it is indeed designed to be pleasurable in just this way. But it is also intended, at least so Wallace tells us, to resist the addictive nature of pure entertainment:The original title was A Failed Entertainment. The idea is that the book is structured as an entertainment that doesn’t work [...]. And the tension of the book is to try to make it at once extremely entertaining—and also sort of warped, and to sort of shake the reader awake about some of the things that are sinister in entertainment. (Wallace in Lipsky 79)If we consider what it might mean to view the book as a “Failed Entertainment,” and consider what it is we love to do when reading suspiciously, we can then see that it is perhaps intended to steer us away from trying to decode it, especially when it is constantly suggested to us that it is this effort of analysis that tends to move one out of the immediacy of a given moment. The fact that “nobody’s ever been able to figure AA out” (349), yet it still indubitably works, seems to suggests how we are to approach the novel.But what are we offered instead of these pleasures of suspicious reading? Perhaps, like the AA attendee, the novel wants us to learn to listen to what is already in front of us: for the AA member it is all those stories offered up at the “podium”; for us it is all the pain and joy written in the text. In place of a conclusive ending that gives us all that we want to know, that shows us everything that “happens,” in its final scene the novel instead tells the story of a man finding his “bottom,” his lowest ebb, waking up “flat on his back on the beach in the freezing sand” (981). This man, of course, is Don Gately. If we see this final moment only as a frustration of narrative desire, as a turning away from full understanding, from a revelation of the “truth” the narrative has been withholding, then we perhaps fail the task Wallace’s text, like AA, constantly asks of us: to listen, to accept, to trust.ReferencesBoswell, Marshall. Understanding David Foster Wallace. Columbia, SC: U of South Carolina P, 2003.Bywater, William. “The Paranoia of Postmodernism.” Philosophy and Literature 14.1 (1990): 79–84. Foucault, Michel. “Nietzsche, Freud, Marx.” Aesthetics, Method, and Epistemology: Essential Works of Foucault 1954–84, Volume 2. Ed. James Faubion. Trans. Robert Hurley et al. London: Penguin, 2000. 269–78. Freudenthal, Elizabeth. “Anti-Interiority: Compulsiveness, Objectification, and Identity in Infinite Jest.” New Literary History 41.1 (2010): 191–211. Kelly, Adam. “David Foster Wallace and the New Sincerity in American Fiction.” Consider David Foster Wallace: Critical Essays. Los Angeles: Sideshow Media Group Press, 2010. 131–46.Latour, Bruno. “Why Has Critique Run Out of Steam? From Matters of Fact to Matters of Concern.” Critical Inquiry 30.2 (2004): 225–48.Lipsky, David. Although of Course You End Up Becoming Yourself: A Road Trip With David Foster Wallace. New York: Broadway Books, 2010.McHale, Brian. “Modernist Reading, Post-Modern Text: The Case of Gravity's Rainbow.” Poetics Today 1.1 (1979): 85–110.Pascal, Blaise. Pensées and Other Writings. Trans. Honor Levi. Ed.Anthony Levi. New York: Oxford UP, 1995.Ricœur, Paul. Freud and Philosophy: An Essay on Interpretation. Trans. Denis Savage. New Haven: Yale UP, 1970.Wallace, David Foster. “E Unibus Pluram: Television and U.S. Fiction.” Review of Contemporary Fiction 13.2 (1993): 151–94. ---. Infinite Jest. New York: Back Bay Books, 1996.

On 12 March 2020, Philippine President Rodrigo Duterte announced a lockdown of Manila to stop the spread of COVID-19. The cities, provinces, and islands of the Philippines remained under various levels of community quarantine for the remainder of the year. Under the strictest lockdown measures, known as Enhanced Community Quarantine (ECQ), no one aged below 21 or over 60 years was allowed out, a curfew was implemented between 10pm and 5am, and only one person per household, carrying a quarantine pass, was allowed to go out for essential items (Bainbridge & Vimonsuknopparat; Ratcliffe & Fonbuena). The policing of these measures was strict, with a heavy reliance on police and military to enforce health protocols (Hapal). In early April, Duterte warned that violators of the lockdown who caused trouble could be shot (Reuters). Criticisms concerning the dissemination of information about the pandemic were exacerbated when on 5 May, 2020, Filipinos lost an important source of news and entertainment as the country’s largest media network ABS-CBN was shut down after the government denied the renewal of its broadcast franchise (Gutierrez; “ABS-CBN”; “Independent Broadcaster”). The handling of the pandemic by the Duterte government has been characterised by inaction, scapegoating, and framed as a war on an existential threat (Hapal). This has led to feelings of frustration, anger, and despair that has impacted and been incorporated into the artistic expression of some Filipino creatives (Esguerra, “Reflecting”). As they did in the rest of the world, social media platforms became a vital source of entertainment for many facing these harsh lockdown measures in the Philippines in 2020. Viral forms included the sharing of videos of recipes for whipped Dalgona coffee and ube-pandesal on TikTok, binge-watching KDramas like Crash Landing on You on Netflix, playing Animal Crossing on Nintendo Switch, and watching Thailand’s Boys’ Love genre web series 2Gether: The Series on YouTube. Around the world, many arts and cultural organisations turned to online platforms to continue their events during the COVID-19 pandemic. #RomanceClass, a Filipino community of authors, artists, and actors who consume, produce, and enact mostly self-published English-language romance fiction in the Philippines, also turned to these platforms to hold their community’s live literature events. This article analyses this shift by #RomanceClass. It contends that, due to their nature as an independent, born-digital literary organisation, they were able to adapt swiftly and effectively to online-only events in response to the harshness of the Filipino lockdown, creating new forms of artistic innovation by adopting the aesthetics of Zoom into their creative practice (for example, name tags and gallery camera view). This aesthetic swiftly became familiar to people all over the world in 2020, and adopting digital platforms encodes within it the possibility for a global audience. However, while #RomanceClass are and have been open to a global audience, and their creative innovations during the pandemic have clearly been informed by transcultural online trends, this article argues that their adoption of digital platforms and creative innovations represented a continuation of their existing ethos, producing material explicitly intended for a Filipino audience, and more specifically, their existing community, prioritising community connection over any more expansive marketing efforts (McAlister et al.). The Live Literature of #RomanceClass The term #RomanceClass refers to a biblio-community of authors, readers, artists, and actors, all involved in the production and consumption of English-language romance novels in the Philippines. #RomanceClass began online in 2013 via a free writing class run predominantly on Facebook by author Mina V. Esguerra (for more on this, see McAlister et al.). As the community has developed, in-person events have become a major part of the community’s activities. However, as a born-digital social formation, #RomanceClass has always existed, to some extent, online. Their comfort in digital spaces was key to their ability to pivot swiftly to the circumstances in the Philippines during the lockdowns in 2020. One of the most distinctive practices of #RomanceClass is their live reading events. Prior to 2020, community members would gather in April for April Feels Day, and in October for Feels Fest for events where local actors would read curated passages from community-authored romance novels, and audiences’ verbal and physical responses became part of the performance. The live readings represent a distinctive form of live literature – that is, events where literature is the dominant art form presented or performed (Wiles), a field which encompasses phenomena like storytelling festivals, author readings, and literary festivals (Dane; Harvey; Weber; Wilson). In October 2019, we interviewed several #RomanceClass community members and attended one of these live reading events, Feels Fest, where we observed that the nature of the event very clearly reflected the way the community functions: they are “highly professionalised, but also tightly bound on an affective level, regularly describing [themselves] as a found family” (McAlister et al. 404). Attendance at live readings is capped (50 people, for the event we attended). The events are thus less about audience-building than they are community-sustaining, something which they do by providing community comforts. In particular, this includes kilig, a Filipino term referring to a kind of affective romantic excitement, usually demonstrated by the audience members in reaction to the actors’ readings. While the in-person component is very important to the live reading events, they have always spanned online and offline contexts – the events are usually live-tweeted by participants, and the readings are recorded and posted to YouTube by an official community videographer, with the explicit acknowledgment that if you attended the event, you are more than welcome to relive it as many times as you want. (Readings which contain a high degree of sexual content are not searchable on YouTube so as not to cause any harm to the actors, but the links are made privately available to attendees.) However, the lockdown measures implemented in the Philippines in 2020 meant that only the online context was available to the community – and so, like so many other arts communities around the world, they were forced to adapt. We tend to think of platforms like Zoom as encoded with the potential to allow people into a space who might not have been able to access it before. However, in their transition to an online-only context, #RomanceClass clearly sought to prioritise the community-sustaining practices of their existing events rather than trying in any major way to court new, potentially global, audiences. This prioritisation of community, rather than marketing, provided a space for #RomanceClass authors to engage cathartically with their experiences of lockdown in the Philippines (Esguerra, “Reflecting”). Embracing the Zoom Aesthetic: #RomanceClass in 2020 #RomanceClass’s first online event in 2020 was April Feels Day 2020, which occurred not long after lockdown began in the Philippines. Its production reflects the quick transition to an online-only co-presence space. It featured six books recently published by community authors. For each, the author introduced the book, and then an actor read an excerpt – a different approach to that hitherto taken in live events, where two actors, playing the roles of the romantic protagonists, would perform the readings together. Like the in-person live readings, April Feels Day 2020 was a synchronous event with a digital afterlife. It was streamed via Twitch, and participants could log on to watch and join the real-time conversations occurring in the chat. Those who did not sign up for a Twitch account could still watch the stream and post about the event on Twitter under the hashtag #AprilFeelsDay2020. After the event, videos featuring each book were posted to YouTube, as they had been for previous in-person live reading events, allowing participants to relive the experience if they so desired, and for authors to use as workshopping tools to allow them to hear how their prose and characters’ voices sounded (something which several authors reported doing with recordings of live readings in our interviews with them in 2019). April Feels Day 2020 represented a speedy pivot to working and socialising from home by the #RomanceClass community, something enabled by the existing digital architecture they had built up around their pre-pandemic live reading events, and their willingness to experiment with platforms like Twitch. However, it also represented a learning experience, a place to begin to think about how they might adapt creatively to the circumstances provoked by the global pandemic. They innovated in several ways. For instance, they adopted mukbang – a South Korean internet phenomenon which has become popular worldwide, wherein a host consumes a large amount of food while interacting with their audience in an online audiovisual broadcast – in their Mukbang Nights videos, where a few members of #RomanceClass would eat food and discuss their books (Anjani et al.). Food is a beloved part of both #RomanceClass events and books (“there’s lots of food, always. At some point someone always describes what the characters are eating. No exceptions”, author Carla de Guzman told us when we interviewed her in 2019), and so their adoption of mukbang shows the ways in which their 2020 digital events sought to recreate established forms of communal cohesion in a virtual co-presence space. An even more pointed example of this is their Hello, Ever After web series, which drew on the growing popularity of born-digital web series in Southeast Asia and other virtual performances around the globe. Hello, Ever After was both a natural extension of and significantly differed from #RomanceClass in-person live events. Usually, April Feels Day and October Feels Fest feature actors reading and performing passages from already published community books. By contrast, Hello, Ever After featured original short scripts written by community authors. These scripts took established characters from these authors’ novels and served as epilogues, where viewers could see how these characters and their romances fared during the pandemic. Like in-person live reading events – and unlike the digital April Feels Day 2020 – it featured two actors playing virtually side-by-side, reinforcing that one of the key pleasures derived from the reading events is the kilig produced through the interaction between the actors playing against each other (something we also observed in our 2019 fieldwork: the community has developed hashtags to refer specifically to the live reading performance interactions of some of their actors, such as #gahoates, in reference to actors Gio Gahol and Rachel Coates). The scenes are purposefully written as video chats, which allows not only for the fact that the actors were unable to physically interact with each other because of the lockdowns, but also tapped into the Zoom communication aesthetic that commandeered many people’s personal and professional communications during COVID-19 restrictions. Although the web series used a different video conferencing technology, community member Tania Arpa, who directed the web series episodes, adapted the nameplate feature that displayed the characters’ names to more closely align with the Zoom format, demonstrating #RomanceClass’s close attentiveness to developments in the global media environment. Zoom and other virtual co-presence platforms became essentially universal in 2020. One of their affordances was that people could virtually attend events from anywhere in the world, which encodes in it the possibility of reaching a broader, more global audience base. However, #RomanceClass maintained their high sensitivity to the local Filipino context through Hello, Ever After. By setting episodes during the Philippines’ lockdown, emphasised by the video chat mise en scène, Hello, Ever After captures the nuances of the sociopolitical and sometimes mundane aspects of the local pandemic response. Moreover, the series features characters known to and beloved by the community, as the episodes function as epilogues to #RomanceClass books, taking place in what An Goris calls the “post-HEA” [happily ever after] space. #RomanceClass books are available digitally – and have a readership – outside the Philippines, and so the Hello, Ever After web series is theoretically a text that can be enjoyed by many. However, the community was not necessarily seeking to broaden their audience base through Hello, Ever After; it was community-sustaining, rather than community-expanding. It built on the extant repository of community knowledge and affect by using characters that #RomanceClass members know intimately and have emotional connections to, who are not as familiar and legible to those outside the community, intended for an audience with a level of genre knowledge (McAlister et al.; Fletcher et al.). While the pandemic experience these characters were going through was global, as the almost universal familiarity with the Zoom aesthetic shows, Hello, Ever After was highly attentive to the local context. Almost all the episodes featured “Easter eggs” and dialogues that pointed to local situations that only members of the targeted Filipino audience would understand and be familiar with, echoing the pandemic challenges of the country’s present reality. Episodes featured recurrent themes like dissatisfaction with the government’s slow response and misaligned priorities, anger towards politicians exacerbating the impact of the pandemic with poor health and transportation policies, and recognition of voluntary service and aid rendered by private individuals. For example, the first episode, Make Good Days, an epilogue to Mina V. Esguerra’s novel What Kind of Day, focusses on the challenges “essential worker” hero Ben (played by Raphael Robes) faces as a local politician’s speechwriter, who has been tasked to draft a memorial speech for his boss to deliver in honour of an acquaintance who has succumbed to COVID-19. He has developed a “3:00 habit” of a Zoom call with his partner Naya (Rachel Coates), mirroring the “3:00 habit” or “3:00 Prayer to the Divine Mercy” many Catholic Filipino devotees pray and recite daily at that specific hour, a habit reinforced through schools, churches, and media, where entertainment shows allow time for the prayer to be televised. Ben and Naya’s conversation in this particular 3:00 call dwells on what they think Filipino citizens deserve, especially from local government officials who repeatedly fail them (Baizas; Torres). They also discuss the impact that the pandemic has had on Naya’s work life. She runs a tourism and travel business – which is the way that the two characters met in What Kind of Day – which she has been forced to close because of the pandemic. Naya grieves not just for the dream job she has had to give up, but also sympathises with the enormous number of Filipinos who suddenly became unemployed because of the economy closing down (Tirona). Hello, Ever After draws together the political realities of living in the Philippines during the pandemic with the personal, by showing the effects of these realities on characters like Ben and Naya, who are well-known to the #RomanceClass community. #RomanceClass books encompass a wide variety of protagonists, and so the episodes of Hello, Ever After were able to explore how the lives of health workers, actors, single parents, students, scientists, office workers, development workers, CEOs and more could be impacted by the pandemic and the lockdowns in the Philippines. They also allowed the authors to express some of their personal frustrations with living through quarantine, something they admit fueled some parts of the scripts (“Behind the Scenes: Hello, Ever After”). #RomanceClass novels like What Kind of Day all end happily, with the romantic protagonists together (in contrast to a lot of other Filipino media, which ends unhappily – for more on this, see McAlister et al.). Make Good Days and the other episodes of Hello, Ever After reflect the grim realities of pandemic life in the Philippines; however, they do not undercut this happy ending, and instead seek to reinforce it. Through Hello, Ever After, the community literally seeks to “make good days” for themselves by creating opportunities to access the familiar comfort and warmth of kilig scenes. Kilig refers to a kind of affective romantic emotion that usually has a physical manifestation (Trinidad, “Shipping”; “Kilig”). It does not have an equivalent word or phrase in English, but can be used as a noun to denote a thrilling state of excitement or as an adjective to describe moments or scenes that evoke this feeling. Creating and becoming immersed in kilig is central to #RomanceClass texts and events: authors attempt to produce kilig through their writing, and actors attempt to provoke it during live reading performances (something which, as mentioned above, was probably made more difficult in the one-actor live readings of the fully online Aprils Feels Day 2020, as much of the kilig is generated by the interactions between the actors). Kilig scenes are plentiful in Hello, Ever After. For instance, in Make Good Days, Naya asks Ben to name a thing he hated before the pandemic that he now misses. He replies that he misses being stuck in traffic with her – that he still hates traffic, but he misses spending that time with her. Escapism was a high priority for many people and communities creating art during the 2020 lockdowns. Given this, it is interesting that #RomanceClass chose to create kilig in their web series by leaning into the temporal moment and creating material specifically revolving around the lockdown in the Philippines, showing couples like Ben and Naya supporting each other and sharing their pandemic-caused burdens. Hello, Ever After both reflected the harsh reality in which the community found themselves but also gave them something to cling to in the hardest days of lockdown, showing that kilig could be found even in the toughest of circumstances when both characters and community members found themselves separated. Conclusion As a community which began in a digital space, #RomanceClass was well-positioned to pivot to an online-only environment during the pandemic, even though in-person events had become such a distinctive part of their community outputs. They experimented and innovated significantly in 2020, producing a range of digital outputs, including the Hello, Ever After web series. On the surface, this does not seem especially unusual: many arts organisations innovated digitally during the pandemic. What was particularly notable about #RomanceClass’s digital outputs, however, was that they were not designed to be marketing tools. They were not actively courting a new audience; rather, outputs like Hello, Ever After were designed to be community-sustaining, providing the existing audience comfort, familiarity, and kilig in a situation (local and global) that was not in any way comfortable or familiar. We Will Be Okay is the title of the second Hello, Ever After video, an epilogue to Celestine Trinidad’s Ghost of a Feeling: a neat summary of the message the episodes offered to the #RomanceClass audience through these revisitings of beloved characters and relationships. As we have discussed elsewhere, #RomanceClass is a professionalised community, but their affective ties are very strong (McAlister et al.). Their digital outputs during the pandemic showed this, and demonstrated again the way their community bonds are reinforced through their repeated re-engagement with their texts, just as their pre-pandemic forms of live literature did. There was kilig to be found in revisiting well-known couples, even in depressing circumstances. As the community engage together with these new epilogues and share their affective reactions, their social ties are reinforced – even when they are forced to be separated. References “ABS-CBN: Philippines’ Biggest Broadcaster Forced Off Air.” BBC, 5 May 2020. 22 Mar. 2021 <http://www.bbc.com/news/world-asia-52548703>. Anjani, Laurensia, et al. “Why Do People Watch Others Eat Food? An Empirical Study on the Motivations and Practices of Mukbang Viewers.” Proceedings of the 2020 CHI Conference on Human Factors in Computing Systems. April 2020. DOI: 10.1145/3313831.3376567. Bainbridge, Amy, and Supattra Vimonsuknopparat. “This Is What Life Is Like in the Philippines amid One of the World’s Toughest Coronavirus Lockdowns.” ABC News, 29 Apr. 2020. 22 Mar. 2021 <http://www.abc.net.au/news/2020-04-29/philippines-social-volcano-threatening-to-erupt-amid-covid-19/12193188>. Baizas, Gaby. “‘Law Is Law Unless Friends Kayo’: Netizens Slam Gov’t Double Standards.” Rappler, 13 May 2020. 22 Mar. 2021 <http://www.rappler.com/nation/netizens-reaction-law-is-law-double-standards-government-ecq-guidelines>. “Behind the Scenes: Hello, Ever After.” Facilitated by Mina V. Esguerra. RomanceClass, 7 Aug. 2020. 22 Mar. 2021 <http://www.youtube.com/watch?v=3-9FuCSX08M>. Dane, Alexandra. “Cultural Capital as Performance: Tote Bags and Contemporary Literary Festivals.” Mémoires du Livre 11.2 (2020). <http://www.erudit.org/fr/revues/memoires/2020-v11-n2-memoires05373/1070270ar.pdf>. Esguerra, Mina V. What Kind of Day. Self-published, 2018. ———. “Reflecting on Hello, Ever After.” Mina V. Esguerra, 23 April 2021. 17 May 2021 <http://minavesguerra.com/news/reflecting-on-hello-ever-after/>. Fletcher, Lisa, Beth Driscoll, and Kim Wilkins. “Genre Worlds and Popular Fiction: The Case of Twenty-First Century Australian Romance.” Journal of Popular Culture 51.4 (2018): 997-1015. Goris, An. “Happily Ever After… and After: Serialisation and the Popular Romance Novel.” Americana: The Journal of American Popular Culture 12.1 (2013). 22 Mar. 2021 <http://www.americanpopularculture.com/journal/articles/spring_2013/goris.htm>. Gutierrez, Jason. “Philippine Congress Officially Shuts Down Leading Broadcaster.” New York Times, 10 July 2020. 22 Mar. 2021 <http://www.nytimes.com/2020/07/10/world/asia/philippines-congress-media-duterte-abs-cbn.html>. Hapal, Karl. “The Philippines’ COVID-19 Response: Securitising the Pandemic and Disciplining the Pasaway.” Journal of Current Southeast Asian Affairs (2021). <http://doi.org/10.1177/1868103421994261>. Harvey, Hannah. “On the Edge of the Storytelling World: The Festival Circuit and the Fringe.” Storytelling, Self, Society 4.2 (2008): 134-151. “Independent Broadcaster ABS-CBN Shut Down by Philippines Government in ‘Crushing Blow’ to Press Freedom.” ABC News, 6 May 2020. 22 Mar. 2021 <http://www.abc.net.au/news/2020-05-06/philippines-news-outlet-closure-abs-cbn-duterte/12218416>. “Make Good Days.” Dir. Tania Arpa. RomanceClass, 26 June 2020. 22 Mar. 2021 <http://www.youtube.com/watch?v=6bqpij-S7DU&t=5s>. McAlister, Jodi, Claire Parnell, and Andrea Anne Trinidad. “#RomanceClass: Genre World, Intimate Public, Found Family.” Publishing Research Quarterly 36 (2020): 403-417. Ratcliffe, Rebecca, and Carmela Fonbuena. “Millions in Manila Back in Lockdown as Duterte Loses Control of Coronavirus Spread.” The Guardian, 4 Aug. 2020. 22 Mar. 2021 <http://www.theguardian.com/world/2020/aug/04/millions-in-manila-philippines-back-in-lockdown-as-duterte-loses-control-of-coronavirus-spread>. Reuters. “‘Shoot Them Dead’ – Philippine Leader Says Won’t Tolerate Lockdown Violators.” CNBC, 2 April 2020. 22 Mar. 2021 <https://www.cnbc.com/2020/04/02/philippines-duterte-threatens-to-shoot-lockdown-violators.html>. Tirona, Ana Olivia A. “Unemployment Rate Hits Record High in 2020.” Business World, 9 Mar. 2021. 22 Mar. 2021 <http://www.bworldonline.com/unemployment-rate-hits-record-high-in-2020/>. Torres, Thets. “5 Times the Government Disobeyed and Ignored Their Own Laws.” NoliSoli, 13 May 2020. 22 Mar. 2021 <http://nolisoli.ph/80192/ph-government-disobeyed-and-ignored-their-own-laws-ttorres-20200513/>. Trinidad, Andrea Anne. “‘Kilig to the Bones!’: Kilig as the Backbone of the Filipino Romance Experience.” Paper presented at the International Association for the Study of Popular Romance conference, 2020. ———. “‘Shipping’ Larry Stylinson: What Makes Pairing Appealing Boys Romantic?” Paper presented at the International Association for the Study of Popular Romance conference, 2018. Trinidad, Celestine. Ghost of a Feeling. Self-published, 2018. Weber, Millicent. Literary Festivals and Contemporary Book Culture. Cham: Palgrave, 2018. “We Will Be Okay.” Dir. Tania Arpa. RomanceClass, 3 July 2020. 22 Mar. 2021 <http://www.youtube.com/watch?v=Ed2SamGU3Tk>. Wiles, Ellen. “Live Literature and Cultural Value: Explorations in Experiential Literary Ethnography.” PhD thesis. University of Stirling, 2019. Wilson, Michael. Storytelling and Theatre: Contemporary Professional Storytellers and Their Art. Houndsmills: Palgrave, 2005.

Introduction The recent AOL/Time-Warner merger invites us to re-think the relationships amongst content producers, distributors, and audiences. Worth an estimated $300 billion (US), the largest Internet transaction of all time, the deal is 45 times larger than the AOL/Netscape merger of November 1998 (Ledbetter). Additionally, the Time Warner/EMI merger, which followed hard on the heels of the AOL/Time-Warner deal and is itself worth $28 billion (US), created the largest content rights organisation in the music industry. The joining of the Internet giant (AOL) with what was already the world's largest media corporation (Time-Warner-EMI) has inspired some exuberant reactions. An Infoworld column proclaimed: The AOL/Time-Warner merger signals the demise of traditional media companies and the ascendancy of 'new economy' media companies that will force any industry hesitant to adopt a complete electronic-commerce strategy to rethink and put itself on Internet time. (Saap & Schwarrtz) This comment identifies the distribution channel as the dominant component of the "new economy" media. But this might not really be much of an innovation. Indeed, the assumption of all industry observers is that Time-Warner will provide broadband distribution (through its extensive cable holdings) as well as proprietary content for AOL. It is also expected that Time-Warner will adopt AOL's strategy of seeking sponsorship for development projects as well as for content. However, both of these phenomena -- merger and sponsorship -- are at least as old as radio. It seems that the Internet is merely repeating an old industrial strategy. Nonetheless, one important difference distinguishes the Internet from earlier media: its characterisation of the audience. Internet companies such as AOL and Microsoft tend towards a simple and simplistic media- centred view of the audience as market. I will show, however, that as the Internet assumes more of the traditional mass media functions, it will be forced to adopt a more sophisticated notion of the mass audience. Indeed, the Internet is currently the site in which audience definitions borrowed from broadcasting are encountering and merging with definitions borrowed from marketing. The Internet apparently lends itself to both models. As a result, definitions of what the Internet does or is, and of how we should understand the audience, are suitably confused and opaque. And the behaviour of big Internet players, such as AOL and MSN, perfectly reflects this confusion as they seem to careen between a view of the Internet as the new television and a contrasting view of the Internet as the new shopping mall. Meanwhile, Internet users move in ways that most observers fail to capture. For example, Baran and Davis characterise mass communication as a process involving (1) an organized sender, (2) engaged in the distribution of messages, (3) directed toward a large audience. They argue that broadcasting fits this model whereas a LISTSERV does not because, even though the LISTSERV may have very many subscribers, its content is filtered through a single person or Webmaster. But why is the Webmaster suddenly more determining than a network programmer or magazine editor? The distinction seems to grow out of the Internet's technological characteristics: it is an interactive pipeline, therefore its use necessarily excludes the possibility of "broadcasting" which in turn causes us to reject "traditional" notions of the audience. However, if a media organisation were to establish an AOL discussion group in order to promote Warner TV shows, for example, would not the resulting communication suddenly fall under the definition as set out by Baran and Davis? It was precisely the confusion around such definitions that caused the CRTC (Canada's broadcasting and telecommunications regulator) to hold hearings in 1999 to determine what kind of medium the Internet is. Unlike traditional broadcasting, Internet communication does indeed include the possibility of interactivity and niche communities. In this sense, it is closer to narrowcasting than to broadcasting even while maintaining the possibility of broadcasting. Hence, the nature of the audience using the Internet quickly becomes muddy. While such muddiness might have led us to sharpen our definitions of the audience, it seems instead to have led many to focus on the medium itself. For example, Morris & Ogan define the Internet as a mass medium because it addresses a mass audience mediated through technology (Morris & Ogan 39). They divide producers and audiences on the Internet into four groups: One-to-one asynchronous communication (e-mail); Many-to-many asynchronous communication (Usenet and News Groups); One-to-one, one-to-few, and one-to-many synchronous communication (topic groups, construction of an object, role-playing games, IRC chats, chat rooms); Asynchronous communication (searches, many-to-one, one-to-one, one to- many, source-receiver relations (Morris & Ogan 42-3) Thus, some Internet communication qualifies as mass communication while some does not. However, the focus remains firmly anchored on either the sender or the medium because the receiver --the audience -- is apparently too slippery to define. When definitions do address the content distributed over the Net, they make a distinction between passive reception and interactive participation. As the World Wide Web makes pre-packaged content the norm, the Internet increasingly resembles a traditional mass medium. Timothy Roscoe argues that the main focus of the World Wide Web is not the production of content (and, hence, the fulfilment of the Internet's democratic potential) but rather the presentation of already produced material: "the dominant activity in relation to the Web is not producing your own content but surfing for content" (Rosco 680). He concludes that if the emphasis is on viewing material, the Internet will become a medium similar to television. Within media studies, several models of the audience compete for dominance in the "new media" economy. Denis McQuail recalls how historically, the electronic media furthered the view of the audience as a "public". The audience was an aggregate of common interests. With broadcasting, the electronic audience was delocalised and socially decomposed (McQuail, Mass 212). According to McQuail, it was not a great step to move from understanding the audience as a dispersed "public" to thinking about the audience as itself a market, both for products and as a commodity to be sold to advertisers. McQuail defines this conception of the audience as an "aggregate of potential customers with a known social- economic profile at which a medium or message is directed" (McQuail, Mass 221). Oddly though, in light of the emancipatory claims made for the Internet, this is precisely the dominant view of the audience in the "new media economy". Media Audience as Market How does the marketing model characterise the relationship between audience and producer? According to McQuail, the marketing model links sender and receiver in a cash transaction between producer and consumer rather than in a communicative relationship between equal interlocutors. Such a model ignores the relationships amongst consumers. Indeed, neither the effectiveness of the communication nor the quality of the communicative experience matters. This model, explicitly calculating and implicitly manipulative, is characteristically a "view from the media" (McQuail, Audience 9). Some scholars, when discussing new media, no longer even refer to audiences. They speak of users or consumers (Pavick & Dennis). The logic of the marketing model lies in the changing revenue base for media industries. Advertising-supported media revenues have been dropping since the early 1990s while user-supported media such as cable, satellite, online services, and pay-per-view, have been steadily growing (Pavlik & Dennis 19). In the Internet-based media landscape, the audience is a revenue stream and a source of consumer information. As Bill Gates says, it is all about "eyeballs". In keeping with this view, AOL hopes to attract consumers with its "one-stop shopping and billing". And Internet providers such as MSN do not even consider their subscribers as "audiences". Instead, they work from a consumer model derived from the computer software industry: individuals make purchases without the seller providing content or thematising the likely use of the software. The analogy extends well beyond the transactional moment. The common practice of prototyping products and beta-testing software requires the participation of potential customers in the product development cycle not as a potential audience sharing meanings but as recalcitrant individuals able to uncover bugs. Hence, media companies like MTV now use the Internet as a source of sophisticated demographic research. Recently, MTV Asia established a Website as a marketing tool to collect preferences and audience profiles (Slater 50). The MTV audience is now part of the product development cycle. Another method for getting information involves the "cookie" file that automatically provides a Website with information about the user who logs on to a site (Pavick & Dennis). Simultaneously, though, both Microsoft and AOL have consciously shifted from user-subscription revenues to advertising in an effort to make online services more like television (Gomery; Darlin). For example, AOL has long tried to produce content through its own studios to generate sufficiently heavy traffic on its Internet service in order to garner profitable advertising fees (Young). However, AOL and Microsoft have had little success in providing content (Krantz; Manes). In fact, faced with the AOL/Time-Warner merger, Microsoft declared that it was in the software rather than the content business (Trott). In short, they are caught between a broadcasting model and a consumer model and their behaviour is characteristically erratic. Similarly, media companies such as Time-Warner have failed to establish their own portals. Indeed, Time-Warner even abandoned attempts to create large Websites to compete with other Internet services when it shut down its Pathfinder site (Egan). Instead it refocussed its Websites so as to blur the line between pitching products and covering them (Reid; Lyons). Since one strategy for gaining large audiences is the creation of portals - - large Websites that keep surfers within the confines of a single company's site by providing content -- this is the logic behind the AOL/Time-Warner merger though both companies have clearly been unsuccessful at precisely such attempts. AOL seems to hope that Time- Warner will act as its content specialist, providing the type of compelling material that will make users want to use AOL, whereas Time- Warner seems to hope that AOL will become its privileged pipeline to the hearts and minds of untold millions. Neither has a coherent view of the audience, how it behaves, or should behave. Consequently, their efforts have a distinctly "unmanaged" and slighly inexplicable air to them, as though everyone were simultaneously hopeful and clueless. While one might argue that the stage is set to capitalise on the audience as commodity, there are indications that the success of such an approach is far from guaranteed. First, the AOL/Time-Warner/EMI transaction, merely by existing, has sparked conflicts over proprietary rights. For example, the Recording Industry Association of America, representing Sony, Universal, BMG, Warner and EMI, recently launched a $6.8 billion lawsuit against MP3.com -- an AOL subsidiary -- for alleged copyright violations. Specifically, MP3.com is being sued for selling digitized music over the Internet without paying royalties to the record companies (Anderson). A similar lawsuit has recently been launched over the issue of re- broadcasting television programs over the Internet. The major US networks have joined together against Canadian Internet company iCravetv for the unlawful distribution of content. Both the iCravetv and the MP3.com cases show how dominant media players can marshal their forces to protect proprietary rights in both content and distribution. Since software and media industries have failed to recreate the Internet in the image of traditional broadcasting, the merger of the dominant players in each industry makes sense. However, their simultaneous failure to secure proprietary rights reflects both the competitive nature of the "new media economy" and the weakness of the marketing view of the audience. Media Audience as Public It is often said that communication produces social cohesion. From such cohesion communities emerge on which political or social orders can be constructed. The power of social cohesion and attachment to group symbols can even create a sense of belonging to a "people" or nation (Deutsch). Sociologist Daniel Bell described how the mass media helped create an American culture simply by addressing a large enough audience. He suggested that on the evening of 7 March 1955, when one out of every two Americans could see Mary Martin as Peter Pan on television, a kind of social revolution occurred and a new American public was born. "It was the first time in history that a single individual was seen and heard at the same time by such a broad public" (Bell, quoted in Mattelart 72). One could easily substitute the 1953 World Series or the birth of little Ricky on I Love Lucy. The desire to document such a process recurs with the Internet. Internet communities are based on the assumption that a common experience "creates" group cohesion (Rheingold; Jones). However, as a mass medium, the Internet has yet to find its originary moment, that event to which all could credibly point as the birth of something genuine and meaningful. A recent contender was the appearance of Paul McCartney at the refurbished Cavern Club in Liverpool. On Tuesday, 14 December 1999, McCartney played to a packed club of 300 fans, while another 150,000 watched on an outdoor screen nearby. MSN arranged to broadcast the concert live over the Internet. It advertised an anticipated global audience of 500 million. Unfortunately, there was such heavy Internet traffic that the system was unable to accommodate more than 3 million people. Servers in the United Kingdom were so congested that many could only watch the choppy video stream via an American link. The concert raises a number of questions about "virtual" events. We can draw several conclusions about measuring Internet audiences. While 3 million is a sizeable audience for a 20 minute transmission, by advertising a potential audience of 500 million, MSN showed remarkably poor judgment of its inherent appeal. The Internet is the first medium that allows access to unprocessed material or information about events to be delivered to an audience with neither the time constraints of broadcast media nor the space limitations of the traditional press. This is often cited as one of the characteristics that sets the Internet apart from other media. This feeds the idea of the Internet audience as a participatory, democratic public. For example, it is often claimed that the Internet can foster democratic participation by providing voters with uninterpreted information about candidates and issues (Selnow). However, as James Curran argues, the very process of distributing uninterrupted, unfiltered information, at least in the case of traditional mass media, represents an abdication of a central democratic function -- that of watchdog to power (Curran). In the end, publics are created and maintained through active and continuous participation on the part of communicators and audiences. The Internet holds together potentially conflicting communicative relationships within the same technological medium (Merrill & Ogan). Viewing the audience as co-participant in a communicative relationship makes more sense than simply focussing on the Internet audience as either an aggregate of consumers or a passively constructed symbolic public. Audience as Relationship Many scholars have shifted attention from the producer to the audience as an active participant in the communication process (Ang; McQuail, Audience). Virginia Nightingale goes further to describe the audience as part of a communicative relationship. Nightingale identifies four factors in the relationship between audiences and producers that emphasize their co-dependency. The audience and producer are engaged in a symbiotic relationship in which consumption and use are necessary but not sufficient explanations of audience relations. The notion of the audience invokes, at least potentially, a greater range of activities than simply use or consumption. Further, the audience actively, if not always consciously, enters relationships with content producers and the institutions that govern the creation, distribution and exhibition of content (Nightingale 149-50). Others have demonstrated how this relationship between audiences and producers is no longer the one-sided affair characterised by the marketing model or the model of the audience as public. A global culture is emerging based on critical viewing skills. Kavoori calls this a reflexive mode born of an increasing familiarity with the narrative conventions of news and an awareness of the institutional imperatives of media industries (Kavoori). Given the sophistication of the emergent global audience, a theory that reduces new media audiences to a set of consumer preferences or behaviours will inevitably prove inadequate, just as it has for understanding audience behavior in old media. Similarly, by ignoring those elements of audience behavior that will be easily transported to the Web, we run the risk of idealising the Internet as a medium that will create an illusory, pre-technological public. Conclusion There is an understandable confusion between the two models of the audience that appear in the examples above. The "new economy" will have to come to terms with sophisticated audiences. Contrary to IBM's claim that they want to "get to know all about you", Internet users do not seem particularly interested in becoming a perpetual source of market information. The fragmented, autonomous audience resists attempts to lock it into proprietary relationships. Internet hypesters talk about creating publics and argue that the Internet recreates the intimacy of community as a corrective to the atomisation and alienation characteristic of mass society. This faith in the power of a medium to create social cohesion recalls the view of the television audience as a public constructed by the common experience of watching an important event. However, MSN's McCartney concert indicates that creating a public from spectacle it is not a simple process. In fact, what the Internet media conglomerates seem to want more than anything is to create consumer bases. Audiences exist for pleasure and by the desire to be entertained. As Internet media institutions are established, the cynical view of the audience as a source of consumer behavior and preferences will inevitably give way, to some extent, to a view of the audience as participant in communication. Audiences will be seen, as they have been by other media, as groups whose attention must be courted and rewarded. Who knows, maybe the AOL/Time-Warner merger might, indeed, signal the new medium's coming of age. References Anderson, Lessley. "To Beam or Not to Beam. MP3.com Is Being Sued by the Major Record Labels. Does the Digital Download Site Stand a Chance?" Industry Standard 31 Jan. 2000. <http://www.thestandard.com>. Ang, Ien. Watching Dallas: Soap Opera and the Melodramatic Imagination. London: Methuen, 1985. Baran, Stanley, and Dennis Davis. Mass Communication Theory: Foundations, Ferment, and Future. 2nd ed. Belmont, Calif.: Wadsworth 2000. Curran, James. "Mass Media and Democracy Revisited." Mass Media and Society. Eds. James Curran and Michael Gurevitch. New York: Hodder Headline Group, 1996. Darlin, Damon. "He Wants Your Eyeballs." Forbes 159 (16 June 1997): 114-6. Egan, Jack, "Pathfinder, Rest in Peace: Time-Warner Pulls the Plug on Site." US News and World Report 126.18 (10 May 1999): 50. Gomery, Douglas. "Making the Web Look like Television (American Online and Microsoft)." American Journalism Review 19 (March 1997): 46. Jones, Steve, ed. CyberSociety: Computer-Mediated Communication and Community. Thousand Oaks: Sage, 1995. Kavoori, Amandam P. "Discursive Texts, Reflexive Audiences: Global Trends in Television News Texts and Audience Reception." Journal of Broadcasting and Electronic Media 43.3 (Summer 1999): 386-98. Krantz, Michael. "Is MSN on the Block?" Time 150 (20 Oct. 1997): 82. Ledbetter, James. "AOL-Time-Warner Make It Big." Industry Standard 11 Jan. 2000. <http://www.thestandard.com>. Lyons, Daniel. "Desparate.com (Media Companies Losing Millions on the Web Turn to Electronic Commerce)." Forbes 163.6 (22 March 1999): 50-1. Manes, Stephen. "The New MSN as Prehistoric TV." New York Times 4 Feb. 1997: C6. McQuail, Denis. Audience Analysis. Thousand Oaks, Calif.: Sage, 1997. ---. Mass Communication Theory. 2nd ed. London: Sage, 1987. Mattelart, Armand. Mapping World Communication: War, Progress, Culture. Trans. Susan Emanuel and James A. Cohen. Minneapolis: U of Minnesota P, 1994. Morris, Merrill, and Christine Ogan. "The Internet as Mass Medium." Journal of Communications 46 (Winter 1996): 39-50. Nightingale, Virginia. Studying Audience: The Shock of the Real. London: Routledge, 1996. Pavlik, John V., and Everette E. Dennis. New Media Technology: Cultural and Commercial Perspectives. 2nd ed. Boston: Allyn and Bacon, 1998. Reid, Calvin. "Time-Warner Seeks Electronic Synergy, Profits on the Web (Pathfinder Site)." Publisher's Weekly 242 (4 Dec. 1995): 12. Rheingold, Howard. Virtual Community: Homesteading on the Electronic Frontier. New York: Harper, 1993. Roscoe, Timothy. "The Construction of the World Wide Web Audience." Media, Culture and Society 21.5 (1999): 673-84. Saap, Geneva, and Ephraim Schwarrtz. "AOL-Time-Warner Deal to Impact Commerce, Content, and Access Markets." Infoworld 11 January 2000. <http://infoworld.com/articles/ic/xml/00/01/11/000111icimpact.xml>. Slater, Joanna. "Cool Customers: Music Channels Hope New Web Sites Tap into Teen Spirit." Far Eastern Economic Review 162.9 (4 March 1999): 50. Trott, Bob. "Microsoft Views AOL-Time-Warner as Confirmation of Its Own Strategy." Infoworld 11 Jan. 2000. <http://infoworld.com/articles/pi/xml/00/01/11/000111pimsaoltw.xml>. Yan, Catherine. "A Major Studio Called AOL?" Business Week 1 Dec. 1997: 1773-4. Citation reference for this article MLA style: Daniel M. Downes. "The Medium Vanishes? The Resurrection of the Mass Audience in the New Media Economy." M/C: A Journal of Media and Culture 3.1 (2000). [your date of access] <http://www.uq.edu.au/mc/0003/mass.php>. Chicago style: Daniel M. Downes, "The Medium Vanishes? The Resurrection of the Mass Audience in the New Media Economy," M/C: A Journal of Media and Culture 3, no. 1 (2000), <http://www.uq.edu.au/mc/0003/mass.php> ([your date of access]). APA style: Daniel M. Downes. (2000) The Medium Vanishes? The Resurrection of the Mass Audience in the New Media Economy. M/C: A Journal of Media and Culture 3(1). <http://www.uq.edu.au/mc/0003/mass.php> ([your date of access]).