281 research outputs found
Takereana Poore & Hurley, 2015, n. gen.
No full text<i>Takereana</i> n. gen. <p> <i>Type species.</i> <i>Idotea festiva</i> Chilton, 1885, here designated.</p> <p> <b>Diagnosis</b>. Body vaulted, deeply longitudinally grooved, head narrower than pereonite 1, body barely widest at pereonite 4. Pleon with 2 fully articulating pleonites, pleonite 3 indicated by suture ventrally and dorsally except in median third; pleotelson apically triangular. Antennule flagellum of 1 short article. Antenna flagellum multiarticulate. Mandible narrow, with obsolete setose molar process without armature, with spine row, asymmetrical lacinia mobilis, and toothed incisor. Maxillule inner lobe with apical setae; outer lobe with 12 apical spiniform setae. Maxilla inner lobe with complex setation, middle and outer lobes with distal rows of numerous denticulate setae. Maxillipedal endite with apical setation; palp operculate, articles 2–3 and 4–5 fused. Coxae 2–7 with well-developed contiguous weakly articulating dorsal coxal plates shielding coxal-basal articulation from dorsal view. Pereopods without spiniform setae on palms of merus, carpus and propodus. Pleopod 1 rami narrower and shorter than those of pleopod 2–5. Male pleopod 2 appendix masculina unknown. Oostegites lamellar, on pereopods 1–5.</p> <p> <b>Etymology</b>. Epithet chosen by the second author; <i>takere</i> in the Māori language of New Zealand means hull of a canoe, and seabed (Moorfield 2011). <i>Takereana</i> alludes to both the species’ body shape and to its habitat (feminine).</p> <p> <b>Remarks</b>. Along with most idoteid genera, <i>Takereana</i> has a multiarticulate antennal flagellum. <i>Takereana</i>, <i>Austridotea</i> Poore, 2001 and <i>Idotea</i> Fabricius, 1798 are the only idoteid genera in which both pleonites 1 and 2 are truly articulating. In all other genera pleonite 2 is variously fused to pleonite 1 and visible only laterally. <i>Takereana</i> differs from both in having an obsolete setose mandibular molar; it is columnar and toothed in <i>Austridotea</i> (original observations on material in Museum Victoria) and <i>Idotea</i> (Poore & Lew Ton 1989: fig. 28). <i>Austridotea</i>, another endemic New Zealand genus, with three species, is the only other idoteid with a uropodal exopod (biramous uropod). <i>Takereana</i> differs from <i>Austridotea</i> in that maxillipedal palp articles 2–3 and 4–5 are fused and operculate whereas in <i>Austridotea</i> the palp is of five free articles or has only articles 4–5 fused. All species of <i>Austridotea</i> are smooth with laterally expanded coxae (Chadderton <i>et al.</i> 2003), a different habitus from <i>Takereana festiva. Takereana</i> differs from <i>Idotea</i> in having two uropodal rami rather than one, greater fusion of maxillipedal palp articles, lacking spiniform setae on pereopods, and unusual narrow pleopods 1.</p> <p>c d e f j k l</p> <p>h</p> <p>i</p> <p>g m n o p q</p>Published as part of <i>Poore, Gary C. B. & Hurley, Desmond E., 2015, Takereana, a new genus of Idoteidae (Crustacea: Isopoda: Valvifera) from New Zealand, pp. 590-594 in Zootaxa 4057 (4)</i> on pages 591-592, DOI: 10.11646/zootaxa.4057.4.10, <a href="http://zenodo.org/record/232042">http://zenodo.org/record/232042</a>
The yagé aesthetic of William Burroughs: the publication and development of his work 1953-1965
No full textPhDMy concern in this thesis is to show that a reconstruction of the publishing history of
the work of William Burroughs offers a new, critical perspective on his experiments
with psychoactive substances and their connection to his developing practice.
I begin with an exploration of the publication of The Yage Letters (1963) and Naked
Lunch (1959), and reveal how the complexities of their publishing histories shaped
their critical reception. I examine the legal defence of Naked Lunch as it developed
from the Big Table Post Office hearing through to the 1965 Boston trial and
demonstrate the degree to which censorship came to define the published text. The
legal defence of Naked Lunch, as it was incorporated into the Grove publication,
emphasised the issue of opiate addiction. The way in which Burroughs’ 1953 letters to
Allen Ginsberg were reworked as The Yage Letters did much to conceal the
significance of yagé for Burroughs’ later work. Together, these publishing histories
have obscured the relationship between his use of psychoactive substances and his
evolving aesthetic.
At the same time many of Burroughs’ most experimental - and important - works
appeared only in small, ephemeral magazines. His adoption of avant-garde strategies
such as collaboration and collage and his dedication to multimedia experimentation
with the non-chemical alteration of consciousness made conventional book
publication problematic or unsuitable. These experiments in aesthetic production, I
argue, are central to our understanding of Burroughs. His main published writings
must be re-evaluated as one element in this collage of multimedia activities.
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I argue that Burroughs’ experiences with yagé, mescaline and dimethyltryptamine
exerted an influence on his shift to experimentalism in the early 1960s, which sought
to replicate the experience of these altered states of consciousness. That this is so is
evident from a study of two collections of correspondence - Burroughs’ letters to
Ginsberg held at Columbia University Library and his letters to Brion Gysin in the
William S. Burroughs Papers held at the New York Public Library. My reading of
these letters forms an important component of my argument, working to reveal what
the conventional ‘published’ Burroughs serves to conceal.Arts and Humanities research Board.
Queen Mary University of London English Department
funding naked Lunch @ 50 conference in Pari
Copyright and shared networking technologies
No full textPhDThe technological zeitgeist has transformed the social-cultural, legal and commercial aspects of society today. Networking technologies comprise one of the most influential factors in this. Although this transformation can be discounted as a mere historical phenomenon dating back to the advent of the printing press, empirical data concerning usage of these technologies shows that there has been a radical shift in the ability to control the dissemination of copyright works. Networking technologies allow, in an unprecedented manner, user-initiated activities including perfect replications, instantaneous dissemination, and abundant storage. They are immune to technological attempts to dismantle them, and impervious to legal attempts to control and harness them. They affect a global audience, which in turn, undermine at negligible costs, the legal and business parameters of copyright owners.
The problem is whether it will now be possible to establish a copyright framework which balances the interests of the following groups: (a) copyright owners in their control of the dissemination of their works; (b) authors demanding remuneration for the exploitation of their works; (c) users wishing to consume works with clear immunity guidelines using networked technologies; (d) technologists striving to continuously innovate without legal and policy restrictions.
Copyright law is not a mechanism for preserving the status quo or a particular business model. It is, as suggested above, a reflection of the needs and interests of authors, copyright owners, entertainment industries, users and technologists. This thesis examines whether the balance between these actors can be achieved and, if so, how it can be implemented within international, regional and national copyright laws. It finds that a balance can be struck; but that this balance should be aligned along three key concepts: user integrity; technological innovation; and authors‘ and owners‘ remuneration. The proposal is that the optimal method for achieving this triptych is the introduction and global implementation of a reasonable and unobtrusive system of remuneration
The Adaptive Potential of the Memory Response: Clonal Recruitment and Epitope Recognition
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