Journal articles on the topic 'Weariness of life'

Summary: Objectives: Sri Lanka has a high suicide rate. The importance of suicidal ideations and their relationship to the common mental disorders (CMD) have not been adequately explored. This study examined whether patients harboring suicidal thoughts or life weariness would volunteer them. It also examined the relationship between life weariness, suicidal ideations, and the probability of underlying CMD. Method: A case control study was nested within a cross-sectional survey of attendees to the outpatients department in a general hospital. The index group consisted of patients presenting with multiple complaints and repeated visits, the control group was 100 patients randomly selected from a total of 5,767 between 16 and 65 years of age, not fulfilling criteria for the index group. Presence of underlying CMD was assessed by the General Health Questionnaire 30 (GHQ-30). The two groups were compared for symptoms volunteered, response to questions from GHQ-30 on suicidal ideations, and hopelessness. Results: Somatic symptoms were the most common in both groups. Eighty-one patients (81%) in the index group and 34 patients (34%) in the control group had probable CMD. No patient in either group volunteered suicidal ideation as a symptom. However, 59% of index patients and 26% of controls admitted life weariness, and 51/59 index patients and 15/26 controls who had life weariness also had underlying CMD as defined by GHQ scores. Conclusion: Patients who have suicidal thoughts do not volunteer them unless directly asked. There is a strong relationship between suicidal ideation and the probability of underlying CMD.

Augustine’s emphasis on groaning in Enarrationes in Psalmos reflects his eschatological frame for the earthly life. Augustine exhorts believers to cultivate a disposition of world-weariness appropriate to their status as pilgrims and exiles in this life, expressed by groans of suffering in earthly need and longing for heavenly fulfillment. This world-weary disposition has both an ethical and aesthetic character in that it con- tributes to the ordering of believers’ loves to a vision of heavenly beauty and enjoins an active response of solidarity with the suffering on earth.

Investigation was conducted under controlled conditions in the laboratory for plant production at the Faculty of Agriculture in Osijek. The cut roses used in the study were „Red Naomi“. Three different mediums of 300 ml volume were used in the study: ordinary tap water, Chrysal clear, Crystal soil gel. After symptoms of decay such as weariness of neck and yellowing and drying of petals were observed, each rose was taken out of medium and the volume of the residual liquid was measured. Leaves, neck and head of decayed roses were separately weighed, placed in paper bags and dried at 70 ºC for 24h and 48h respectfully. The smallest loss of medium volume (5.45 %) was recorded in cut roses that were stored in the Crystal soil gel, while the greatest loss of medium volume (47.71 %) was recorded in cut roses stored in Chrysal clear.

A philosophical essay under this title faces severe rhetorical challenges. New accounts of the good life regularly and rapidly turn out to be variations of old ones, subject to a predictable range of decisive objections. Attempts to meet those objections with improved accounts regularly and rapidly lead to a familiar impasse — that while a life of contemplation, or epicurean contentment, or stoic indifference, or religious ecstasy, or creative rebellion, or self-actualization, or many another thing might count as a good life, none of them can plausibly be identified with the good life, or the best life. Given the long history of that impasse, it seems futile to offer yet another candidate for the genus “good life” as if that candidate might be new, or philosophically defensible. And given the weariness, irony, and self-deprecation expected of a philosopher in such an impasse, it is difficult for any substantive proposal on this topic to avoid seeming pretentious.

Waiting is a common experience in medicalized gender transition. In this article, I address subjective experiences of medicalized gender transition through a temporal lens, focusing on personal narratives of wait lists, setbacks, and other delays experienced by trans patients. I consider administered waiting as a biopolitical practice of governance, one that has subjectifying and somatic effects on individuals and that speaks to the role of time in the administration of bodies, sex/gender, and biomedical citizenship. I ground my discussion in narratives created by trans people that chronicle their gender transitions; I analyze a set of gender transition vlogs appearing on YouTube, focusing on temporal aspects of medicalized transition and experiences of waiting. My discussion recognizes that the temporal modes of gender transition are multivalent, but these social media narratives also suggest being made to wait is an experience of power relations, one that is capable of producing submission, weariness, and precarity.

In the Despair episode in Spenser’s Faerie Queene i.ix, the provocative material means for self-slaughter are emblematically doubled with the psychological inducements, particularly on the models of predecessor texts in Skelton’s Magnyfycence and the Cordela story in The Mirrour for Magistrates. The pairing of means and causes is part of a tradition. So also is the despair of a Christian believer over his own sinfulness, in the face of God’s law, as voiced by a conspiratorial evil conscience, leading to a sinful “unbelief and despair of God” (Luther) and likewise unbelief in salvation—and to an unconquerable self-accusation, which doubles the sinner with tormentors, or a diabolic Accuser, and tempts him or her to cut his/her losses, relieve his/her pain, sorrows, and world-weariness, and take his/her life. Other suicidal types in The Faerie Queene and elsewhere, who are not theologically confirmed in their wanhope or assisted by it to their end, such as Phedon or Malbecco, can nonetheless illuminate the projections, temptations, demons, and motions of the Christian despair-er, and his or her adversity, depression, distress, impatience, furor, world-weariness, melancholia, and driven-ness. The despair-er’s condition, as found in Kierkegaard’s Sickness unto Death, can be further illustrated, diagnosed, and ministered to, by means of a variety of early modern and medieval moralizing and homiletic texts. And while the death of Shakespeare’s Cordelia by hanging conforms to Spenser’s account ( fq ii.x.32), her suicidal despair is only a slander bruited by the character Edmund. Rather, it is her would-be rescuer Lear who is the picture of misery and despair.

Objective: The purpose of this study is to examine the perspectives of both the spousal caregiver and care recipient on the caregiving experience in home-based palliative care.Methods: A qualitative research strategy involving home-based face-to-face interviews with older palliative care patients and their spousal caregivers was used to examine the caregiving experience.Results: Ten spousal caregivers and care recipient dyads participated in the study. Most informal caregivers viewed caregiving as an extension of the family relationship where caregiving responsibilities evolved over time. Spousal caregivers identified many negative reactions to caregiving, such as fatigue or weariness, depression, anger and sadness, financial stresses, and lack of time. Care recipients acknowledged the emotional and financial strain and expressed concern for their spouses. Both caregivers and care recipients were appreciative of home care services although they identified the need for additional services. They also identified difficulties in communication with formal providers and poor coordination of care among the various services. Both caregivers and care recipients disclosed some challenges with informal supports, but on the whole felt that their presence was positive. Additional positive aspects of caregiving reported by spouses included strengthened relationship with their spouse and discovering emotional strength and physical abilities in managing care.Significance of results: Health care and social service professionals need to recognize and understand both caregiver and care recipient perspectives if they are to successfully meet the needs of both members of the dyad.

Background. Higher rates of suicidal behaviour have been reported among staff in mental health care than in the general population. However, no studies of these two groups have been carried out simultaneously, using the same methods. This study aims to investigate whether they differ in terms of age- and sex-standardized prevalence of suicidal behaviour.Methods. Identical questions about suicidal behaviour were addressed in the same year to a random sample of the general population and to mental health-care staff in Stockholm. Life weariness among the latter was also investigated.Results. Age- and sex-standardized past year prevalences of suicidal thoughts and suicide attempts were found to be similar among mental health-care staff and the general population. Lifetime prevalence of both suicidal thoughts and suicide attempts was significantly higher among mental health-care staff than among the general population. Psychologists/social workers have a higher probability of: lifetime thoughts of life is not worth living; death wishes; and, suicidal thoughts, than nurses/assistant nurses.Conclusions. Reports on lifetime prevalence of suicidal behaviour may be biased in populations that are not reminded of these problems in everyday life. Data on past year prevalence of suicidal behaviour show clearly the similarity between the general population and the mental health-care staff.

The limited attention paid to old-age suicide in Germany is likely related to society's lack of interest in the specific problems of old people. This is despite the fact that over half of all German suicides are committed by persons 65 and older. In reviewing what is known about elderly suicide based on retrospective studies, I submit that suicide in later life is not always based on pathologic mental processes. There may be a number of risk factors unique to elderly suicides, in addition to depressive disorders that involve broader cultural issues among the many motives likely present in any one suicide. Today's emphasis on individualized values may lead to a feeling of meaninglessness in the suicidal elderly. The uncertainty and fear of the inability to influence their own dying and a certain weariness of life are also likely unique risk factors for the elderly. Thus the reasons or motives for a suicide may be best considered by understanding the entire life situation and the biographical aspects of the person. Prevention of elderly suicides requires a number of approaches ranging from social assistance and improved training of care providers to more acceptance and valuing of older persons by society.

Victorian ambivalence toward Romanticism is expressed with alternating vehemence and reticence. Repudiating “the noise / And outcry of the former men” who “left their pain” for Victorian generations (“Stanzas from the Grande Chartreuse,” 127–28, 131), in his critical essays Arnold nevertheless reiterates respect for Wordsworth, and in “Dover Beach” he incorporates the free-associationist structure of Coleridge' conversation poems. In Hard Times, the rural world beyond Coketown and Blackpool' gospel of the holiness of the heart constitute Dickens' consolations for the hellish industrial wasteland, but at the same time Harthouse — personifying the empty prodigality and flashy decadence that Victorians saw in Byron and Shelley — subverts moral order. Browning, though warning against the self-defeating diffidence and isolation of the Romantic artist in “Andrea del Sarto,” reaffirms Romantic individuality of vision and rebellion against tradition in “Fra Lippo Lippi.” While venerating the Goethe who proclaimed aspiration for infinitude and extension of the limits of possibility, Carlyle sees Lord Byron as the personification of moral and psychic pathology — unreined sorrow and cynicism, world weariness and decadent hedonism, derisive mockery and pessimism, high-strung sensitivity and emotional vulnerability — defects which Carlyle also sees as immanent in Shelley and which are subsumed in the Victorians' image of the negative side of the Romantics:Poor Shelley always is a ghastly object: colorless, pallid, tuneless, without health or warmth or vigour, the sound of him shrieky, frosty, as if a ghost were trying to sing to us; the temperament of him, spasmodic, hysterical, instead of strong or robust — a man infinitely too weak for that solitary scaling of the Alps. (Reminiscences 2: 292–93; qtd. in Buckley 22)

The concept of depression includes clinical conditions whose main disorder concerns mood or affect. Traditionally, this group includes depressive disorders, mania and submaniacal states, and anxiety disorders. A light form of depression is often unrecognized. The person feels chronic fatigue, weariness and discouragement to life. Depression caused by reactive factors is manifested by a smaller number of psychosomatic symptoms. According to the WHO (World Health Organization) report, by 2020 depression may become the second largest health risk after cardiovascular disease. The clinical picture of depression is dominated primarily by the depressed mood, which is felt by the patient as a state of gloom, resignation, and sadness. The patient is unable to experience joy, happiness and satisfaction. Anhedonia appears, or inability to feel any pleasures. A separate problem is the recognition of depression in the elderly age, when symptoms characteristic to depression are very often considered a normal manifestation of the body aging or as an inherent element of the somatic disease. Currently, it is estimated that as many as 40% of cases of depression in people over 65 remain undiagnosed.

Electronic Dance Music (EDM) is a music genre which has been perceived in negative way because closely related to night life in which alcoholic drinks and illegal drugs. The beatings of the rhythm presented can arouse a desire to shake the body, giving instant pleasure to escape from the weariness of life. Although it could be said that this music genre is able to help the listeners to forget “the problems” of life, however, it is very rarely that the academic circle looked into this music genre and make it as a subject of interesting studies. This article is written out of subjective observations in social sphere on subjects containing a lot of secrecies and initially considered as a taboo to be discussed. The existence of EDM in line with the technological developments as montage of the time-image related with complexity of social relations, attempting to embark on a new identity in power, politics, and ideological trappings. The phenomenon comes into sight specifically in the song of “Ora Minggir Tabrak”,literally means if you get on my way I will hit you, a soundtrack of Ada Apa Dengan Cinta 2feature film. And it obviously could be seen in talent hunting for EDM musicians program broadcast by Net TV (the ReMix), and several other big events with internationally standard organized annually, such as DWP (Djakarta Warehouse Project); and Dreamfield at GWK Bali, which are worth-discussing amidst the hustle and bustle of music market in Indonesia.

Socio-economic changes in Spanish society that emerged in the end of the first decade of this century as a result of a deep financial crisis and moral weariness of the population from the corrupt politicians, have led to the emergence of new political forces which quickly gained popularity. It applies most of all to the party Podemos, headed by a charismatic leader, Pablo Iglesias. The success of Podemos caused a shock for the ruling elite of Spain, accustomed during the years of democracy to the two-party system and a relatively similar electoral and governmental rhetoric. Aesthetics, as a reflection of real life and value attitude, goes hand in hand with politics. The change in ideology and a challenge to the system lead to new forms of public activities, of the mobilization of supporters, of election campaign, clothing, manners, discourse, etc. New aesthetics is against of obvious, changes the usual symbols.The deputies of Podemos and other leftist challenge prevailing conventions and introduce to the «sacred» Parliament the real life of the street. The denial of parliamentary dress code means not desire to play by the rules of the «caste». The colloquial language typical for the media, television talk shows and glamorous magazines is usual now in the Parliament. The policy changes its iconographic attributes and the language of communication. Currently, in Spain, in social terms, two aesthetic, and thus ideological systems are facing: alternative - anti-globalization in fact, and so called «neotransit», i.e. the idealization of the first years of democracy, when there was political consensus and stability. The future will show which tendency will be viable and long lasting, it will depend on global circunstances that are in the constant movement and unpredictable direction.

<p class="zhengwen"><span lang="EN-GB">Old textures suffer deficiencies in terms of answering the needs of the today’s life due to old age and the resultant weariness and destruction and even the lack of urban facilities and equipment. When the urban life in part of a city becomes stagnant and no efforts are made to regain its boom. The urban texture in that area will be exposed to wearing out. The goal of this study is to review the existing drawbacks and bottlenecks in the process of the revival of the distressed texture of one of the neighborhoods located in District 4, Isfahan, called Kerdabad. The research method is applied in nature and follows a descriptive analytic approach. The findings of the research covers issues such as incompatible applications, resulting in the fact that 80 percent of respondents attribute their dissatisfaction from the environmental conditions of the neighborhood to workshop areas and agricultural fields in the margin of their neighborhood which in turn has resulted in slum life problems in the neighborhood and formation of an inconsistent social context in which 63 percent of the people are dissatisfied of these conditions. While 70 percent of the respondents express their willingness to refurbish their houses, only 73 percent of the respondents attribute proximity to their workplace as the main reason why they prefer to stay in the neighborhood and 89 inhabitants are not well satisfied with the urban services delivered. </span></p>

Purpose: The article examines the topos of HOME and following motifs A. P. Chekhov’s late prose. Results: The 1st story, A Woman’s Kingdom, portrays a rich young woman who is bored with her eventless everyday life. Being clever and open-hearted, Anna Akimovna searches for human values, such as empathetic communication, loving family, etc. The fictive time is Christmas Eve and Christmas Day, so genre tradition of Christmas narratives involves miracles connected with status changes (marriage, family reunification, poor relative gets award or gift from their rich uncle, an orphan finds their parents, and so on). Ritual temporality suggests some fate changes, and it makes Anna Akimovna dream about her matrimony matters with the worker Pimenov. At last she realizes that Pimenov is below her socially, and social instinct leads her closer to vapid and stupid such as Lysevich or important administrative official Krylin. Dull days she spends at home compel her to leave her dreams for humility. Thus, home-associated motifs in the story are boredom, weariness, and humility. The second narrative, At Home, is based on a return plot. Vera Kardina, who has received her education courses in Moscow, suffers from primitive customs of her home estate. Eventually, she realizes that she is becoming as rude and narrow-minded as the others inhabitants. Therefore, she decides to escape into an unhappy marriage. Corresponding motifs are the same: boredom and weariness, but the main character’s escape reveals the higher degree of disagreement with her current lifestyle. In the third short story, A Doctor’s Visit, the female character’s disease is explained by her inner anxiety related to her social role. Liza Lyalikova is the heir of a huge factory, but she worries that it makes her unhappy and lonely. Doctor Korolev is sure that the best way for Liza’s recovery is to quit the business. When the characters meet next morning, doctor believes that Liza would leave home. Both characters compare the factory with the devil, the absolute evil force, that forms the main motif of the short story. Here, the HOME topos is reconstructed in symbolic way. Conclusion: We conclude that the topos of home in Chekhov’s late works produces destructive emotions. Main characters of narratives don’t feel safe and calm in their homes. Motif dynamics show the development of characters’ positions from humility to deliverance.

Purpose: The article examines the topos of HOME and following motifs A. P. Chekhov’s late prose. Results: The 1st story, A Woman’s Kingdom, portrays a rich young woman who is bored with her eventless everyday life. Being clever and open-hearted, Anna Akimovna searches for human values, such as empathetic communication, loving family, etc. The fictive time is Christmas Eve and Christmas Day, so genre tradition of Christmas narratives involves miracles connected with status changes (marriage, family reunification, poor relative gets award or gift from their rich uncle, an orphan finds their parents, and so on). Ritual temporality suggests some fate changes, and it makes Anna Akimovna dream about her matrimony matters with the worker Pimenov. At last she realizes that Pimenov is below her socially, and social instinct leads her closer to vapid and stupid such as Lysevich or important administrative official Krylin. Dull days she spends at home compel her to leave her dreams for humility. Thus, home-associated motifs in the story are boredom, weariness, and humility. The second narrative, At Home, is based on a return plot. Vera Kardina, who has received her education courses in Moscow, suffers from primitive customs of her home estate. Eventually, she realizes that she is becoming as rude and narrow-minded as the others inhabitants. Therefore, she decides to escape into an unhappy marriage. Corresponding motifs are the same: boredom and weariness, but the main character’s escape reveals the higher degree of disagreement with her current lifestyle. In the third short story, A Doctor’s Visit, the female character’s disease is explained by her inner anxiety related to her social role. Liza Lyalikova is the heir of a huge factory, but she worries that it makes her unhappy and lonely. Doctor Korolev is sure that the best way for Liza’s recovery is to quit the business. When the characters meet next morning, doctor believes that Liza would leave home. Both characters compare the factory with the devil, the absolute evil force, that forms the main motif of the short story. Here, the HOME topos is reconstructed in symbolic way. Conclusion: We conclude that the topos of home in Chekhov’s late works produces destructive emotions. Main characters of narratives don’t feel safe and calm in their homes. Motif dynamics show the development of characters’ positions from humility to deliverance.

<p>Human beings are given freedom to seek provision in accordance with applicable law and in a way that is fair. This is one of the obligations of human rights in Islam. Allah SWT. has established through the ordinance of him that any kind of work that run based on the principles of Koranic will never make one rich in a brief period of time. In the view of Islam, work not just as the pusher man to maintain their existence in life, but is the basis of all things. People began to work has been started since the Prophet Adam and his seed</p><p>inhabiting the earth. She has been at pains to and hard to meet the needs of his life, while in paradise Adam got without the feeling of weariness and fatigue. So also the Prophet (saas. Is a hard worker through the efforts of trade he do when reselling merchandise owned by Siti Khadijah. The Messenger of Allah alone always tries to hit to all his people so that they have a high work ethos. Efforts done by Mohammed. So that the people of Islam have a high working ethos was not only shown through several hadith that he sabdakan, but also shown itself by Muhammad through a more real action. Muhammad showed himself as a person that ethnic high work, not easy to surrender, hard worker and reluctant to freaks who sit.</p>

A partir da América Latina, procura-se perceber os impactos do momento atual sobre a vida religiosa e as respostas oferecidas. A complexidade da realidade pede decisões responsáveis e nova compreensão da liberdade em meio a difuso temor do compromisso definitivo. Adelgaça-se a consciência histórica e ética num contexto neoliberal e midiático. Agrava-se a confusão entre vocação e profissão no interior da crise das Instituições. A pós-modernidade fluida na sua dimensão social e religiosa, a acentuada valorização da exterioridade de ritos e práticas, o desgaste da vida religiosa tradicional provocam um surto de movimentos eclesiais de espiritualidade e apostolado onde brotam novas formas religiosas como um desafio à criatividade da vida religiosa clássica. Finalmente ela tem que enfrentar o incontornável problema vocacional para o futuro.ABSTRACT: The author seeks to perceive the impact of the current moment in the religious life and its answers, from the Latin American perspective. The complexity of the reality demands responsible decisions and new understanding of freedom in the midst of a diffuse fear of definitive commitment. The historical and ethical consciousness gets narrow in the neoliberal and media context. The confusion between vocation and profession deepens its roots among the crises of institutions. Post-modernity, fluid in its social and religious dimensions, the increasing valorization of external rites and practices, the weariness of the traditional religious life produce a strong proliferation of ecclesial movements of spirituality and apostolate from which emerge new religious forms as a challenge to the creativity of the traditional religious life. Finally it has to face the unavoidable problem of vocational shortage in the future.

SynopsisBurnout signifies the chronic depletion of coping resources following prolonged exposure to emotionally charged demands. It is manifested by symptoms of emotional, physical and cognitive exhaustion, and is usually studied in relation to occupational stressors. We hypothesized that the major life crisis engendered by missile attacks would give rise to burnout or exacerbate preexisting burnout symptoms. We also hypothesized that individuals suffering from prewar burnout would appraise the war as being more threatening and would be more vulnerable to upper respiratory infections (URI). Wartime and pre-war (baseline) levels of burnout and related symptomatology (cognitive weariness, listlessness, tension and somatic complaints) were compared among 162 Israeli civilians who carried on with their employment duties throughout the Gulf War. We found that the war impacted primarily on younger individuals (age < 45). All the pre-war levels of the above measures increased significantly (except for a marginal increase in tension). The impact of the war was mediated by threat appraisal, as indicated by worry and apprehension. Worry was positively associated with pre-war burnout, and negatively with age and education. Pre-war burnout was associated positively with wartime URIs. It was concluded that the war accelerated the depletion of coping resources and that burnout may be affected by factors other than occupational stress.

One of the great authorities in the antiquity who wrote about old age was Marcus Tullius Cicero, the author of „Cato Maior De senectute [Cato the Elder on Old Age]”. The famous orator wrote this work in 44 BCE and dedicated it to his friend Atticus. The author himself was almost 62 years old at that time, and Atticus 65. Cicero wrote the work in a dialogue form, setting the action in 150 BCE, the speakers being Marcus Porcius Cato the Elder, who in this case presented the views of Cicero, Publius Cornelius Scipio the Younger and Gaius Laelius Sapiens. Cicero followed the example of a Greek treatise on old age, probably written by a third-century BCE Peripatetic philosopher, Aristo of Ceos. The concept of the presentation of the treatise is based on comparison of two different views on old age. In one, sorrow and anxiety are visible. Through Cato’s words, Cicero names four reasons why people regard old age as an unhappy period of life: a). it moves us away from active life; b). it weakens physical strength, c). it deprives us of all sensual pleasures, d). it is close to death. The other view, represented by Cato, disproves the ob­jections against old age, recommending calmness, activity, and moderation. Interestingly enough, apart from philosophical or medical arguments, Cicero also refers to political, religious, social and cultural aspects. The apologia for old age presented by Cicero was not always reflected in the reality. Roman sources, especially legal documents, inform about attempted suicide or euthanasia by the elderly. The fundamental reason was the condition of health and physical pain as well as mental illnesses, but the direct motive associated with old age was taedium vitae – weariness of life.

IntroductionA better understanding of the genomics of mental illnesses allowed genetic counselling to be provided to individuals with severe mental illness and their families.AimThe present study was aimed at assessing the efficacy of genetic counselling for severe mental illnesses with high suicide risk.MethodAssessment was performed before and after genetic counselling session. Measures used were evaluation of traumatic events in childhood, multidimensional scale for perception of social support (SMSSP), positive and negative affect schedule (PANAS-X), Brief Psychiatric Rating Scale (BPRS), Paykel questionnaire and Genetic Counselling Outcome Scale (GCOS). Paykel's questionnaire consists of five questions about suicidal thoughts and attempts, including: life-weariness, death wishes, suicidal ideation, suicidal plans and suicide attempts. Intervention and assessment lasted approximately one and a half hour. Data from 48 patients was analysed.ResultsMean age of participants was M = 38.4, SD = 9.7, and the group was batter represented by females (57%). The participants had various diagnoses, 22% had schizophrenia, 36% bipolar disorder and 42% recurrent depressive disorder. Forty percent of participants reported suicidal ideation and 22,5% had a past history of suicide attempt. Genetic counselling had a direct positive influence upon GCOS specific items and reduced the Paykel scores among participants presenting with suicidal ideation.ConclusionGenetic counselling offers information about the disorder, the role of genetics and the impact of environmental factors. Preliminary data suggest that providing genetic counselling decreases the suicidal ideation frequency.Disclosure of interestThe authors have not supplied their declaration of competing interest.

ObjectiveAlthough there is much focus on burnout and psychological distress among doctors, studies about stress and well-being in medical students are limited but could inform early intervention and prevention strategies.DesignThe primary aim of this mixed-method, cross-sectional survey was to compare objective and subjective levels of stress in final-year medical students (2017) and to explore their perspectives on the factors they considered relevant to their well-being.SettingUniversity College Dublin, the largest university in Ireland.Participants161 of 235 medical students participated in this study (response rate 69%).Results65.2% of students scored over accepted norms for the Perceived Stress Scale (34.8% low, 55.9% moderate and 9.3% high). 35% scored low, 28.7% moderate and 36.3% high on the Subjective Stress Scale. Thematic analysis identified worry about exams, relationships, concern about the future, work–life balance and finance; one in three students reported worry, irritability and hostility; many felt worn out. Cognitive impacts included overthinking, poor concentration, sense of failure, hopelessness and procrastination. Almost a third reported sleep and appetite disturbance, fatigue and weariness. A quarter reported a ‘positive reaction’ to stress. Positive strategies to manage stress included connection and talking, exercise, non-study activity and meditation. Unhelpful strategies included isolation and substance use. No student reported using the college support services or sought professional help.ConclusionMedical students experience high levels of psychological distress, similar to their more senior doctor colleagues. They are disinclined to avail of traditional college help services. Toxic effects of stress may impact their cognition, learning, engagement and empathy and may increase patient risk and adverse outcomes. The focus of well-being in doctors should be extended upstream and embedded in the curriculum where it could prevent future burnout, improve retention to the profession and deliver better outcomes for patients.

With the rapid development of internet technology, the amount of data generated is also increasing day by day. As a kind of distributed computing, cloud computing has been widely used in the analysis of massive data. With the development of China’s economic construction, the integration of urban and rural areas is constantly improving, and the migrant children in the city are also focused on. After moving into the city, migrant children not only face the pressure from the society but also face the pressure from life, which inevitably affects the physical and mental health of urban migrant children. The education of urban migrant children is also a focus that needs attention. How to integrate into the education environment of urbanization and adjust the learning pressure in the process of education is also worthy of our attention. Therefore, this article analyzes the current status of urban migrant children’s mental health based on cloud computing and data mining algorithm models. Based on the current research status of urban migrant children and the standards of mental health, this paper conducts a survey of middle and high school students in a certain city through questionnaires, then builds a data mining algorithm model to analyze the survey data, and explores the differences in the grades of students’ social identity and the differences in mental health between migrant children and urban children. According to the survey, most of the psychological performances of urban migrant children are very vague. At the same time, there are also some phenomena such as poor adaptability, bad mood, and inferiority complex. During the study period, there are situations such as unwilling to communicate with others, weariness, sensitivity, anxiety, and hostility. The overall incidence of the situation is relatively high in big cities, while the situation of urban children is relatively small.

Offshore jacket platforms are subjected to variety of forces during their life period. To resists all kinds of forces, the structural elements should be designed properly to have safety and economy. In order to fulfil this purpose, the structure should be analyzed with great care. As the improvement of oil and gas moves into more profound water, in any case, taller stages with longer periods are fabricated that react all the more powerfully to extraordinary waves. Expectation of the dynamic reaction of such structures in extraordinary ocean states is in this way an essential plan thought. Standard waves have all their vitality lumped at a couple of particular frequencies and can, in this manner, cause wrong powerful enhancements, particularly if these frequencies happen to be near the regular frequencies of the structure. In any case, waves in the ocean are exceptionally sporadic and can be best depicted as directional range, which indicates the appropriation of wave vitality as for recurrence and heading, and is most appropriate for the examination of structure in recurrence space technique. For this situation the nonlinear drag is linearized and utilized in the Morison's condition. This guess is proper for the littler, operational sort waves considered in weariness counts, in light of the fact that the powers because of these waves are overwhelmed by the direct idleness part. Various kinds of investigations related with the coat stage ought to be performed to figure the reaction of the structure and measurement the components of the structure. Here an endeavor has been made to complete various examinations to comprehend the dynamic conduct of coat stages subject to different stacking conditions in various ecological conditions. Coat set up investigation was performed, both static and dynamic hypothetically fixed base stage. With the ongoing imaginative thoughts of investigation utilizing programming, it is presently simpler for the seaward architects to do disentangled and sensible assessment of the static operational and extreme point of confinement state qualities of format or coat stages, which are exposed to different ecological conditions. The essential auxiliary parts of coat type seaward structures including topsides, coat, heaps and the encompassing soil are viewed as utilizing SACS programming various types of investigations identified with coat stage according to API code prerequisite.

Hydroxyurea (HU) is approved in the EU and USA for prevention of vaso-occlusive crises (VOC) including acute chest syndromes (ACS) in patients over 2 years with sickle-cell disease (SCD). The major benefits of HU in SCD are directly related to its abilities to increase HbF, decrease sickling of red blood cells and hemolysis, leading to reduction of vaso-occlusive episodes, need for blood transfusions and consequently reduction of morbidity and mortality. Adherence to the treatment is paramount for effectiveness, but in spite of proven benefits, barriers to adherence persist.[1] ESCORT-HU study (European Sickle Cell Disease COhoRT - HydroxyUrea), is a multicentric, prospective, non-interventional European study designed to evaluate the safety profile of HU in real life. Patients were enrolled from January 2009 to June 2017 with a follow-up of up to 10 years. All interruptions and resumptions of HU treatment exceeding 15 days were recorded in this study. We hereby present the analysis of the group of patients who self-discontinued HU at least once during the study before informing their caregiver, with a view to identify potential barriers to long-term adherence. In total, 1906 patients were enrolled in ESCORT-HU from 63 centers in France, Germany, Greece and Italy. Of these, 619 patients (32%) stopped HU for over 15 days at least once, and around a third (11% of all patients) were due to patient's will. The mean duration of HU treatment before the first discontinuation was 4.8 ± 5.1 years. Data are summarized in table 1. Compared to the rest of the cohort, the 'treatment discontinuation' group had similar distribution by gender and indication for HU prescription, but a higher proportion of adults stopped HU more than 15 days. It is notable that the proportion of patients with SC genotype was higher in the 'treatment discontinuation' group (4.5% vs 1.7%). The patients in the 'treatment discontinuation' group had more frequent SCD symptoms before enrolment in the study (table 2). Hematological and clinical improvement compared to the baseline was observed in both groups. However, average mean Corpuscular Volume (MCV) and Fetal Hemoglobin percentage (HbF%) were lower and mean percentages of patients with SCD symptoms were higher over the three years of follow-up in the 'treatment discontinuation' group, suggesting that HU daily dose was insufficient (table 2). Sixty patients have no treatment resumption date reported which suggest a permanent interruption of their treatment. Among them 32% preferred to switch to another HU medicinal product and 13% have safety issue (table 3). Understanding and managing self-discontinuation of HU before taking medical advice is challenging for the physician. It is tempting to speculate that it may be due, at least in part, to lack of effectiveness potentially due to an underdosage of the treatment. Resistance to the treatment may also be suggested based on past literature data revealing a great variability in the response (determined by HbF%) to HU therapy. There is evidence that genetic modifiers affect individual response to HU.[2],[3] Finally, weariness from long-term use may also explain the patient's wish to discontinue HU. But treatment at optimal effective should be the primary goal of caregivers. [1]Smaldone A., Manwani D., Green NS, Greater number of perceived barriers to hydroxyurea associated with poorer health-related quality of life in youth with sickle cell disease, Pediatr Blood Cancer. 2019 [2] Steinberg MH, Voskaridou E, Kutlar A, Loukopoulos D, Koshy M, et al. (2003). Concordant fetal hemoglobin response to hydroxyurea in siblings with sickle cell disease. Am J Hematol 72: 121-126 [3] Ware RE, Despotovic JM, Mortier NA, Flanagan JM, He J, et al. (2011) Pharmacokinetics, pharmacodynamics, and pharmacogenetics of hydroxyurea treatment for children with sickle cell anemia. Blood 118: 4985-4991 Disclosures Galactéros: Addmedica: Membership on an entity's Board of Directors or advisory committees. Voskaridou:Celgene Corporation: Consultancy, Research Funding; Protagonist: Research Funding; Genesis: Consultancy, Research Funding; Acceleron: Consultancy, Research Funding; Addmedica: Membership on an entity's Board of Directors or advisory committees. Cannas:Addmedica: Membership on an entity's Board of Directors or advisory committees.

This essay focuses on the nascent symbiotic relationship between deepfakes and art museums and galleries, as demonstrated by three case studies. The first one, housed at the Dalí Museum in St Petersburg, Florida, is a life-size talking avatar of the artist generated from archival footage. The second one, Warriors by James Coupe, revisits Walter Hill’s 1979 film of the same name using deepfake algorithms to insert visitors’ faces into key scenes, sorting them into gangs based on data-driven analysis of their demographic and economic markers. Finally, Gillian Wearing’s fake ad, Wearing Gillian, uses deepfake technology to enable a series of actors to appear on screen with the artist’s face as a way of interrogating questions of identity in a networked digital world. Based on these works, my article examines museums’ employment of deepfakes for advertising, audience engagement, and educational outreach, and the curatorial, ethical, and creative opportunities and challenges involved therein. While deepfake esthetics will be discussed wherever relevant, this is not a formalist analysis; my goal is not to focus on close readings of the deepfake pieces themselves, however fascinating their esthetics. Instead, I will look at the promotional and critical discourse around them in order to unpack the ways in which the acquisition of creative deepfake works by cultural institutions functions as a legitimizing force that is already shifting the narrative regarding the artistic value and social functions of this technology.

Abstract Background Suicide in old age is a significant contributor to mortality. However, the extent to which life weariness and suicidal thoughts impact on mortality in a long-term perspective is unknown. The aim of this study was to investigate the effect of life weariness and suicidal thoughts on long-term survival (16 years) in an older Swedish population, controlling for demographic and social network factors and depression. A further aim was to investigate differences in sex and age interactions in relation to mortality among individuals with and without life weariness and suicidal thoughts. Methods A longitudinal cohort study on a national, representative sample of individuals aged 60+ years was conducted within the Swedish National Study of Aging and Care study. The sample included 7213 individuals, who provided information about life weariness and suicidal thoughts through an item derived from the Montgomery-Åsberg Depression Rating Scale. Data were analysed with multivariate Cox proportional hazards models, adjusted for potential confounders. Results At baseline, 12.5% of the participants (14.6% of females and 9.5% of males) reported life weariness and suicidal thoughts. During the 16-year follow-up, a mean survival time was 11.5 years (standard deviation (SD) 5.6), and 3804 individuals died (59.5% females and 40.5% males). Individuals with life weariness and suicidal thoughts had half the survival rate compared with those without such thoughts (24.5% vs. 50.6%), with a mean survival time of 8.4 years (SD 5.7) versus 12.0 years (SD 5.4). The multi-adjusted hazard ratio of mortality for those reporting life weariness and suicidal thoughts was 1.44 (95% confidence interval, 1.30–1.59), with the population attributable risk at 11.1%. In the models, being male or female 80+ years showed the highest multi-adjusted hazard ratio of long-term mortality (ref. female 60–69 years). Conclusions The findings suggested that life weariness and suicidal thoughts were risk factors for long-term mortality, when controlled for sex and age interactions that were found to strongly predict long-term mortality. These findings have practical implications in prevention of mortality, emphasising the importance of screening, identifying, and intercepting older men and women with signs of life weariness and suicidal thoughts. Trial registration Not applicable.

The poetry of JayantaMahapatra is an expression of certain kinds of crises that have been witnessed by their generations. He is profoundly and explicitly preoccupied by the predicament of his generation, and his poems have become objects of the expression of that predicament and weariness. His poems are profoundly marked by contemporary crises and disillusionment, which are prevailed in his respective social panorama. His poems are the dark glasses through which life is seen with strange clarity. Life seen through those dark glasses is grey, monotonous, desolate, empty, grotesque, paralyzed and hopeless with full of weariness and fatigue. Mahapatra is deeply and philosophy concerned with the predicament of his generations, which have been, the victims of squalor, decadence, malaise, morbidity, profligacy, dissipation, depravity and agony of spiritual lapse due to the disillusionment prevailed in his age. The poems are the expression of a devastating analysis of the society of his time which suffers from the psychic blow. The researcher has tried to discuss some of his poems which reveal such images.

The usage of machine tools is widely increased to industrial automation, manufacturing, production technology and etc. The machine tool wear condition monitoring is playing a key role to increase accuracy of the dimension in the final product. By monitoring the wearing level, the life time of the tool is accurately detected and tools can be replaced at the correct time and it can be used to minimize the process time of the task. But it is difficult to monitor and detect the machine tool weariness level from the direct methods. From the indirect methods, the weariness levels of Computer Numerical Control (CNC) machine tool for Acoustic Emission(AE) property is approached in this paper. The AE signals are recorded and preprocessed to extract the features of different wearing conditions using Wavelet Transform(WT). The WT is used to extract the discriminating features that are indirectly reflecting the wearing levels of machine tools. The CNC machines tool weariness at various stage is evaluated from statistical indexes and analyzed based on the relation between the energy distribution of machined surface and wear state of the bit. This approach effectively detects real-time wearing levels of drilling tools by AE using Wavelet technique.

In the real-life situation, facial expressions and feelings are nothing more than responses to human external and internal events. In human computer association, acknowledgment of end client's demeanors and feelings from the video gushing assumes significant job. In such frameworks it is required to follow the dynamic changes in human face developments rapidly so as to convey the necessary reaction framework. The one constant application is physical exhaustion location dependent on facial discovery and articulations, for example, driver weariness recognition so as to forestall the mishaps on street. Face appearance based physical weariness investigation or location is out of extent of this paper, however this paper uncovers concentrate on various techniques those are introduced as of late for outward appearance as well as feelings acknowledgment utilizing video. This paper introducing the procedures as far as highlight extraction and arrangement utilized in outward appearance as well as feeling acknowledgment techniques with their near investigation. The relative examination is done dependent on precision, usage apparatus, preferences and hindrances. The result of this paper is the ebb and flow explore hole and research difficulties those are as yet open to illuminate for video based facial discovery and acknowledgment frameworks. The review on ongoing strategies is properly introduced all through this paper by considering future research works.

The invention of the printing press reduced higher education’s learning-resource scarcity. Access to learning increased, and this democratization of education indirectly contributed to the idea of political democracy in the western world. As part of these political changes, equilibrium was sought between the supply of expertise needed to promote prosperity and the demand for such expertise. This equilibrium has been elusive as the world economy shifts to a reliance on intellectual capital. To complicate matters, we now live in a world of staggering information abundance. How do we mange such boundless information? One answer may lie in viewing the social character of information (how information is used) as fundamental in setting information management agendas. This article presents a holistic approach to information management as one strategy to create effective management of information that starts with the individual and ends with collective knowledge and wisdom.

Abstract This paper explores the concept of the completed life outlined in recent writing in the Netherlands on euthanasia and assisted suicide and its implications for ageing studies. Central to this theme is the basic right of people to self-determine the length of their later life, linked with the subsidiary right to assistance in achieving such self-determination. Although the notion of weariness with life has a long history, the recent advocacy of a self-limited life seems shaped by the new social movements presaged upon individual rights together with what might be called a distinctly third-age habitus, giving centre stage to autonomy over the nature and extent of a desired later life, including choice over the manner and timing of a person's ending. In exploring this concept, consideration is given to the notion of a ‘right to die’, ‘rational suicide’ and the inclusion of death as a lifestyle choice. While reservations are noted over the unequivocal good attached to such self-determination, including the limits to freedom imposed by the duty to avoid hurt to society, the article concludes by seeing the notion of a completed life as a challenge to traditional ideas about later life.

This articles reflects the impacts of the COVID-19 pandemic on the everyday lives of children and their families in Estonia during lockdown in spring 2020 and 2021. The data corpus is based on diaries compiled by children during the first lockdown in 2020 for a collection at the Estonian Literary Museum, and on a series of semi-structured interviews with children documenting their experiences during lockdown in spring 2021. The study draws on literature from the “new sociology of childhood” and applies Bronfenbrenner’s social ecological model to an analysis of young people’s experiences when their mobility outside the home was restricted, and they were forced to reorganise their time use. The findings show how the pandemic extended the social contexts in which children and their families are embedded and highlighted the role played by socio-cultural factors in shaping children’s coping capacities. In combination, analysis of the two datasets demonstrated the differential effects of lockdown on young children. The accounts from the first wave of the pandemic in 2020 suggested that positive family environments could smooth the negative effects of lockdown and help them cope with unexpected changes in their everyday lives. The interviews during the second outbreak of the pandemic revealed how the emerging weariness and boredom reported by some children strained family relationships. The amount of time that children spent online both modified and expanded their experiences of technology-supported interactive spaces. Their reports showed that the interactive contexts in which they were operating through social media extended beyond national borders to an interest in transnational and global events. Online communication did not, however, compensate for the loss of real-life contacts with friends, which became a major concern for young people in Estonia. In the concluding discussion, the authors consider policy responses that address the main issues identified in the research.

Being online during a pandemic in the climate of black death is absolutely triggering. To let the pain out, I’ve had to tap out—had to let those who love me pull me out of this trigger. We, as Black women, carry the heaviness of anti-black/misogynoir policing and anti-black violence with COVID. As Brand contends, ‘we’ve been living in a pandemic all of our [black] life; it is structural rather than viral; it is the global state of emergency of antiblackness’. #SayHerName, #ICantBreathe, #Blacklivesmatter, sigh, I’m so tired. I don’t want to live this pattern time and time again. I want to harness this anger/energy to build alternative possibilities for Black life, but I’m.just.so.drained. So now, with this weight on my spirit, I am required to uphold my scholarly duties in addition to tutoring and mentoring the future of tomorrow, guest lecturing, hosting anti-black workshops, all whilst navigating an anti-black world that is determined to script my ancestors, descendants and I out of this narrative of life. It’s a lot. But I’m managing. - Beatrice Anane-Bediakoh, Chief-Deputy-Editor This year, I have felt simultaneously stuck in stillness but also surrounded by chaos. I feel frozen in time, trapped by the same mundane four walls that I call home, unable to think beyond their ontological restrictions. I feel time speeding past me as I stumble, fumble, and watch helplessly as it slips through my outreached fingers. My stuckness has forced me to rely on technology to marginally satiate my visual and auditory senses. So, I, the cyborg, use my new digital eyes and ears to escape these walls and find myself in chaos. I watch stewing in my impotent anger, but not shock, as the structures that make up our society continue to function as intended and wreak coordinated havoc on the world, committing gratuitous violence on people of colour, but especially Black people, around the world. I’m tired, and my weariness builds as I attempt to support my community, family, and friends in any way I can. My mind becomes more chaotic by the day as the ‘need’ for productivity builds and sits immiscibly with my awareness that productivity makes me implicated and complicit in reproducing this shitty system. But I the half-person, half-machine, must keep on keepin on, so I suppress and compartmentalize my emotions to continue producing during my ‘free’ time and stand idly by and watch as the academy squeezes every last drop of value from my body, too tired to think of an otherwise. - Giovanni Carranza- Hernandez, Chief-Deputy-Editor My head feels like a bottomless container of all the things I have to get done. Grade midterms, conduct interviews, read, email, coordinate mutual aid project, do mutual aid – cook, deliver, repeat, speak on panels, email, coordinate this journal, manage our social media, manage social media for mutual aid project, email, edit articles, submit articles, revise articles, find articles, try to have a life…I’m always doing something, and yet, the list never gets smaller. I’m productive. Always productive. Friends say: “I don’t know how you do it.” It bothers me. People mean well when they say it, but it’s intended to celebrate my seemingly endless ability to output, to keep up, and the thing is, I’m not keeping up with anything. I feel like my body is disintegrating on a cellular level. I’m not even tried, I’m just exhausted. I don’t want to sleep, I want to rest, to sit, to breath, to stop. That’s what endless, uncompromised productivity really looks like. You don’t actually keep up; something has to give. Nobody keeps up with academia and feels OK about it, especially not us. Something always gives, or breaks. I think I’m breaking, or something. - Jade Crimson Rose Da Costa, Founder/Editor-in-Chief

Background: The COVID-19 pandemic has led to an increase in the risk of suicide, uncertainty, mental stress, terror, annoyance, weariness, financial issues, and frustration. We aim to determine the prevalence of insomnia, depressive and anxiety symptoms, and their associated factors among Libyan populations during the COVID-19 pandemic and the civil war.Methods: An online cross-sectional survey was conducted among the Libyan population between July 18 and August 23, 2020. The data collected included basic demographic characteristics, level of education, employment status, COVID-19-related questions, and questions about abuse and domestic violence. This study assessed the psychological status of participants who were screened for anxiety symptoms using the seven-item Generalized Anxiety Disorder scale (GAD-7). Depressive symptoms were also screened for using the two-item Patient Health Questionnaire (PHQ-2) and the Insomnia Severity Index (ISI). Binomial logistic regression was used to predict the probability of insomnia, anxiety and depressive symptoms.Results: A total of 10,296 responses were recorded. Among the participants, 4,756 (46.2%) obtained a cut-off score of ≥ 3 which indicated depressive symptoms. For anxiety, 1,952 participants (19%) obtained a cut-off score of ≥ 15, which indicated anxiety symptoms. For the ISI, the mean (SD) was 11.4 (6.1) for the following categories: no clinical insomnia (0–7) 3,132 (30.4%), sub-threshold insomnia (1–7) 3,747 (36.4%), moderate severity clinical insomnia (8–14) 2,929 (28.4%), and severe clinical insomnia (15–21) 488 (4.7%). Logistic regression analysis showed that depressive symptoms were statistically associated with age, marital status, education level, occupational category, financial problems during the COVID-19 pandemic, health status, having a COVID-19 infection, current health status, suicide ideation, abuse or domestic violence, and lockdown compliance (p &lt; 0.05). The regression analysis revealed a statistically significant association between anxiety symptoms and age, education level, occupational status, financial problems during the COVID-19 pandemic, having a COVID-19 infection, health status, suicide ideation, abuse or domestic violence, and lockdown compliance (p &lt; 0.05). The regression analysis revealed a statistically significant association between insomnia and all study variables with the exception of age, educational level, and occupational status (p &lt; 0.05).Conclusion: Confronted with the COVID-19 outbreak, the Libyan population exhibited high levels of psychological stress manifested in the form of depressive and anxiety symptoms, while one-third of the Libyan population suffered from clinical insomnia. Policymakers need to promote effective measures to reduce mental health issues and improve people's quality of life during the civil war and the COVID-19 pandemic.

In a recent "Arts & Leisure" feature in a national Canadian newspaper, The Globe and Mail (5 June 1999), music critic Robert Everett-Green muses on the invention by the pop music industry of Andrea Bocelli as an opera singer: "call him an airborne virus or a gift from God ... . He is the voice you are most likely to hear while waiting for a double latte." The pop sentimentality industry fast-tracked Bocelli (a pop singer who "sounds" operatic) and created a global entertainment product. In a masterful stroke of high pop spectacle, the holy trinity of musical melodrama joined together -- Bocelli and Céline Dion gush out David Foster's "The Prayer", the theme for the movie Quest for Camelot -- to create an exquisite pop moment. The massive reach of the mainstream; the resonant power of vocal turgidity and excess; the pop diva who never met a song she couldn't oversing -- this is the pop often neglected in critical forays into the nature of the popular that search for the active and the participatory dimensions of popular culture. Yet pop both plunders and perpetuates popular culture; it contains and dramatises the social possibilities of popular culture, and at the same time, spreads out like a great theme park of trivia. Let's pick through the trash. If nothing else, the contemplation of the "question" of pop is an enterprise which often begins with the issue of redemption for popular culture. Even the cultural populist wrestles with the anxiety that much of what we understand as "pop" in culture constitutes the detritus, the ephemera, a repository of the trivialities of society in all of its contemporary moments. The best critical insights into the nature and substance of popular culture (studies in cultural geography and perspectives on history and collective memory, for examples), recognise that what they are considering, describing, and analysing in the spaces and experiences of the popular is at the very least deeply and irrevocably contradictory. The cool, renegade, and enormously creative cultural excursions and general messing about of turntablism and drum'n'bass, for examples, are democratic, active, even "heroic" by some critical discourses, where, say, the maudlin "pop diva" is forgettable at best, and unworthy of an analytical encounter at worst. There is a haziness to the concept of "pop", and more broadly, "popular", and the definitional defiance among the numerous and varied theorists of this energetic practice and/or genre of cultural form and production produces a rather decentred, if not indeterminate object of study. Bill Readings's critique of Cultural Studies offers the relevance of analogy here. Readings notes the "second moment" in the progress of Cultural Studies (around 1990), and the publication of a number of works at the time "that seem to mark the acquisition of professional disciplinarity of Cultural Studies". His excavation of these works reveals a characteristic theoretical element or two -- the suspicion of "the exclusionary force of certain boundaries: female/male, north/south, center/margin, high culture/low culture, western/other, heterosexual/homosexual" (97) -- and some of the authoritative antecedents of these theories against exclusion (Williams, Foucault, Gramsci, Hall, and others). Yet he notes that the striking characteristic of Cultural Studies is the thinness or even absence of theoretical definition or specificity -- "how little it needs to determine its object. Which does not mean that a lot of theorising doesn't go on in its name, only that such efforts are not undertaken in a way that secures the relation of an observer to a determinate set of phenomena or an autonomous object" (97). There is then, a frustration in providing an account of what it means to "do" Cultural Studies, or, more glaringly, what exactly the promised political interventions of Cultural Studies are in the context of hazy objects, floating themes, and sketchy "projects", all of which are products of the declared refusal by Cultural Studies to submit to definitional constraints. Pop suffers from a similar indeterminacy in its object of study, but interestingly because its tends to be over-defined rather than under-defined. Figuring out the object of study in pop is not unlike attempting to parse the object(s) of study in Cultural Studies -- a frustration ultimately, but for very different reasons. Pop is a universe of "anything and everything", and incomprehensible not because it is conceptually challenging (like a universe), but because its geography stretches across so much cultural space. In critiques, pop takes on the torque of the critic, a necessary strategy to somehow delimit its space, and make it graspable, if not meaningful. Encounters with pop (as in "pop art" and "PoMo pop") mine for signs of life among the trash, and have come up with a heartbeat or two on occasion. This geography of trash is in need of some attention. For conceptual guidance in this task, or at least for some respite from the arguments about the "projects" and "interventions" of pop and popular culture, I turn to Don DeLillo's seminal critique of media, consumerism, and the bizarre dislocations and bewildering drift of contemporary social life in his 1985 novel, White Noise (a book that should be required reading for undergraduate courses in media and communication). Murray Jay Suskind, an ex-sports writer and émigré from New York City has come to University-on-the-Hill in Blacksmith, somewhere in middle America, and has assumed his position as visiting lecturer in the Department of American Environments. He becomes a kind of participant-observer and quasi-family member in the household of Jack Gladney, the narrator of the novel and Chairman of the Department of Hitler Studies at the university -- a field he invented in 1968. Murray expresses his desire to establish an "Elvis Presley power base in the department of American Environments", to "do for Elvis" what Jack has "done for Hitler". Murray is engaged in a debate with his students on the true substance and significance of television, and the media-saturated Gladney household serves as a laboratory. Murray argues that the medium is a "primal force in the American home ... a myth being born right there in our living room". Murray elaborates in a conversation with Jack: You have to learn to look. You have to open yourself to the data. TV offers incredible amounts of psychic data. It opens up ancient memories of world birth, its welcomes us into the grid, the network of little buzzing dots that make up the picture pattern. There is light, there is sound. I ask my students, "What more do you want? Look at the wealth of data concealed in the grid, in the bright packaging, the jingles, the slice-of-life commercials, the products hurtling out of the darkness, the coded messages and endless repetitions, like chants, like mantras. 'Coke is it, Coke is it, Coke is it.' The medium practically overflows with sacred formulas if we can remember how to respond innocently and get past our irritation, weariness and disgust. (51) His students disagree -- television for them is "worse than junk mail", it is "the death throes of human consciousness". Murray, however, finds vindication in the Gladney home where the children live lives of total consumer/television immersion to the extent that they eat, think, speak, and dream according to all things televisual and all things commercial. Jack and his wife Babette are fearful of TV, its "narcotic undertow and eerie diseased brain-sucking power", and Babette has developed a strategy to "de-glamorise" television for the good of the family by instituting a family ritual of watching television en masse every Friday night. Mostly numbed or bored, the family occasionally engages in the strangely pleasurable and thoroughly grotesque activity of watching catastrophes: "we were otherwise silent, watching houses slide into the ocean, whole villages crackle and ignite in a mass of advance lava". The family found itself wishing for more with each disaster on the screen, something more sensational, "something bigger, grander, more sweeping" (64). The popular life as depicted by DeLillo is gripping in its familiarity. It is a life that unfolds around and within the television screen; a life that unfolds beside chemical dump sites and industrial waste zones, where toxic fallout produces glorious sunsets as well as fruit that is bright and burnished and always appears to be in season; a life that unfolds in supermarkets and malls where shopping is automatic, somnambulant, and strangely comforting; a life grounded in, structured by, and rationalised within consumerism, media, and omnipresent technological forces that produce everything from dark and insidious pharmaceuticals to an airborne toxic cloud; a life in which families are fragmented and destroyed by the very institutions and pastimes (Disney World and shopping) that declare and promote the support of families and their "values". There is a refrain that emerges like some unconscious ritual chant in the novel, a refrain that has no context or exposition, and that moves through and around the dialogue and the text like a persistent advertising jingle that refuses to quit one's head: Dacron, Orlon, Lycra, Spandex Mastercard, Visa, American Express Leaded, Unleaded, Superunleaded And when children dream, they dream in the consumer-unconscious. Jack hears his child mumbling something in her sleep, and leans closer to hear. She says, "Toyota Celica". The utterance transports Jack, an utterance that was "beautiful and mysterious, gold-shot with looming wonder. It was like the name of an ancient power in the sky, tablet-carved in cuneiform" (155). The brand name has come to have sacred resonance, supreme, transcendent, the stuff of dreams. This is a fiction about suffocating distractedly under the sheer weighty banality of popular trash. It offers a portrait of all of us deep in the commercial media swamp, flailing about in the flotsam and jetsam of all things commercial and popular. DeLillo's narrative moves towards its dark conclusion as the malevolent force of the toxic cloud brings the certainty of death in uncertain ways. The apocalyptic moment is evidenced by the sudden rearrangement of goods on the supermarket shelves. "Older shoppers" panic: "they walk in a fragmented trance, stop and go, clusters of well-dressed figures frozen in the aisles, trying to figure out the pattern, discern the underlying logic, trying to remember where they'd seen the Cream of Wheat" (325). DeLillo's version of life as we know offers some compelling signposts. Mainstream trash -- much of pop, if you will -- is toxic at many turns, and if not a great cloud, then infinitely more than a mere inflection. We desire that which we despise, and herein is the power of pop as a concept, a way of offering a critical trajectory. In a reflection on Pop Art, Roy Lichtenstein once remarked that "What characterises Pop is mainly its use of what is despised" (qtd. in Barthes 22). The pop impulse in art has always suggested a useful ambivalence for addressing the contradictions of life in the maelstrom -- the artist as interventionist/renegade and as commercial hack/celebrity; artful plundering and artless reproduction; the simultaneity of the provocation and the tedium of art in the pop mode; the knowable faux finish of the commercial good look of things and falseness as the raw material of cultural production; bad taste and cool cultural assaults. Pop in art has been accused of constituting a kind of slick cultural finish over cheap particle board. Still, there is a modicum of subversive power in the reversal of values in Pop Art (and in its precursors and its legacies) -- the common, the vulgar, the garish, the boring, the mass produced, the consumable, the pure commodity, all reworked to reveal their common, vulgar, garish, boring, massified, consumable, commodity nature. There have been impressive pop stylistic aggressions carried out against the constipation of high tastes, immutable standards, seriousness, and the ideologies of artistic and cultural legitimacy. Yet at times pop has been blunted by its very self-conscious edge as it engaged in self-congratulations for its irony, pith, and hipness. For some critics, pop in art suffers the malady of most style statements in the postmodern plague -- statements with no convictions since such statements are served up in quotation marks; and a life in quotation marks is no life at all. Pop declares that it is the progeny of commercial technique, marketplaces, advertising, and the commodity environments of junk; and if it didn't exactly spring from the mall, it has come to reside there now between the fountain and the food fair. At its worst, pop appears to be a vaporescent activity, but this perspective neglects some fine and very active pop moments. Pop excursions are important because they can open up creative and critical responses to popular culture. There is pop practice that rises well above empty irony and the business of oversinging (as in some current and brilliant cut-ups and constructed sounds in performance that not only have emotional substance, but are also danceable). Sometimes, out of the trash heap of pop, there are spaces in which popular culture is regenerated. And it is only in this relationship to popular culture that pop matters. References Barthes, Roland. "That Old Thing Called Art." Post-Pop Art. Ed. Paul Taylor. Cambridge: Harvard UP, 1989. DeLillo, Don. White Noise. New York: Viking, 1985. Readings, Bill. The University in Ruins Cambridge: Harvard UP, 1996. Citation reference for this article MLA style: Martin Laba. "Picking through the Trash." M/C: A Journal of Media and Culture 2.4 (1999). [your date of access] <http://www.uq.edu.au/mc/9906/trash.php>. Chicago style: Martin Laba, "Picking through the Trash," M/C: A Journal of Media and Culture 2, no. 4 (1999), <http://www.uq.edu.au/mc/9906/trash.php> ([your date of access]). APA style: Martin Laba. (1999) Picking through the trash. M/C: A Journal of Media and Culture 2(4). <http://www.uq.edu.au/mc/9906/trash.php> ([your date of access]).

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