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Social media has provided everyday actors with a platform to share their personal stories and ideas. This has had a profound effect on activism, as movements are increasingly built up and amplified through the circulation of participants’ individualized motivations, experiences, and sentiments. TikTok has emerged as a salient site for studying this turn: it has proven to be a highly successful tool in activist campaigns, strongly affords personalized communication, and supports a main user base of young people known for emphasizing self-expression in their online participation. Since remix is the core form of sharing on TikTok, users are encouraged to insert and articulate themselves not only in the process of content creation, but in the process of circulation as well. Here, we focus on the way remix is exploited as a mode of personalizing activist content on TikTok, particularly among young users. We do so by qualitatively coding and analyzing remixed content associated with the digital activist organization Gen-Z for Change. We find that, despite expectations based on prior research and the observed behavior of older users, young users tended to resist personalization in their remix strategies. Yet, they simultaneously managed to assert their presence in ways that are meaningful on the app. Our results elaborate on digital activist strategies and the role of platform affordances therein, and add important nuance to common conceptions of youth political participation styles. [ABSTRACT FROM AUTHOR]

This document is a list of contributors to the journal American Quarterly, highlighting scholars, activists, poets, and artists from diverse backgrounds, including Kanaka Maoli (Native Hawaiian) and Indigenous perspectives. Their expertise covers a wide range of subjects, including history, gender studies, political science, and Indigenous politics. The contributors have published books, articles, and poetry collections, exploring topics such as settler colonialism, Indigenous education, and Hawaiian social movements. The document also provides information about their affiliations and accomplishments. These scholars and artists are dedicated to promoting Indigenous perspectives, advocating for their communities, and fostering solidarity among Indigenous peoples in Oceania. [Extracted from the article]

UAVs are increasingly being used in various domains, from personal and commercial applications to military operations. Ensuring the security and trustworthiness of UAV communications is crucial, and blockchain technology has been explored as a solution. However, privacy remains a challenge, especially in public blockchains. In this work, we propose a novel approach utilizing zero-knowledge proof techniques, specifically zk-SNARKs, which are non-interactive cryptographic proofs. This approach allows UAVs to prove their authenticity or location without disclosing sensitive information. We generated zk-SNARK proofs using the Zokrates tool on a Raspberry Pi, simulating a drone environment, and analyzed power consumption and CPU utilization. The results are promising, especially in the case of larger drones with higher battery capacities. Ethereum was chosen as the public blockchain platform, with smart contracts developed in Solidity and tested on the Sepolia testnet using Remix IDE. This novel proposed approach paves the way for a new path of research in the UAV area. [ABSTRACT FROM AUTHOR]

Based on double-compressed sampling, a hyperspectral spectral unmixing algorithm (SU_DCS) is proposed, which could directly complete the endmember extraction and abundance estimation. On the basis of the linear mixed model (LMM), we designed spatial and spectral sampling matrices, obtained spatial and spectral measurement data, and constructed a joint unmixing model containing endmember and abundance information. By using operator separation and Lagrangian multiplier algorithm, the endmember matrix, abundance matrix and remixing image can be quickly obtained by matrix operation. The parameters of the unmixing algorithm, including regularization parameter, convergence threshold and spatial sampling rate, are determined using synthetic simulated hyperspectral data. The proposed algorithm is applied to two kinds of real hyperspectral data, with or without ground truth, in order to verify the effectiveness and reliability of the algorithm. Firstly, we provide the performance of the algorithm on real datasets without ground truth. Compared with algorithm VCA_FCLS and algorithm CPPCA_VCA_FCLS, the endmember spectral curve extracted by the proposed SU_DCS is almost consistent with that obtained by VCA_FCLS, and is more smooth than that of obtained by CPPCA_VCA_FCLS. Additionally, the abundance estimation map estimated by the SU_DCS has consistency with the results obtained by VCA_FCLS. Moreover, the proposed SU_DCS has higher peak signal-to-noise ratio (PSNR) for remixing images with higher computational efficiency. Secondly, we provide the performance of the proposed algorithm on four real datasets with ground truth, including dataset Cuprite, dataset Samson, dataset Jasper and dataset Urban. We provide the results of endmember extraction and abundance estimation from the compressed data under different sampling rate conditions. The extracted endmember maintains good consistency with the true spectral curves, and the estimated abundance map can also maintain good spatial consistency with the ground truth. The comparison results with other four comparative algorithms also indicate that the proposed algorithm can obtain relatively accurate endmembers and abundance information from compressed data, the reliability and validity of the proposed algorithm have been proved. In summary, the main innovation of the proposed algorithm is that it can extract endmembers and estimate abundance with high accuracy from a small amount of measurement data. [ABSTRACT FROM AUTHOR]

To investigate how music educators engage their students with Hip-Hop, we adopted a "research remix" approach, combining elements of case study and constructivist grounded theory. This approach allowed us to privilege Hip-Hop culture and to construct new understandings about Hip-Hop teaching and learning. Six elementary and middle school music teachers implemented Hip-Hop-focused instruction in their classrooms while also attending professional development workshops. Data included videos of classroom instruction, participant interviews, and videos of the workshops with co-facilitation from Hip-Hop artists and the researchers. Educators encountered tensions and challenges related to a perceived Hip-Hop "realness" and a lack of musical and pedagogical skills. To address these challenges, participants remixed their approaches by blending elements of Hip-Hop music and culture with their established teaching strategies. Teachers' dispositions and feedback from students and colleagues engendered critical reflections about their positionalities in relation to Hip-Hop. We constructed a visual model of a DJ as a metaphor to describe participants' approaches to remixing their teaching with Hip-Hop within their contexts. Implications include a need for increased emphasis on Hip-Hop in U.S. music teacher education programs and institutional pathways for Hip-Hop musicians to become music educators. [ABSTRACT FROM AUTHOR]

Copyright of Esferas is the property of Esferas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This audio‐visual essay invites readers to enter a new intermedial archive of documentary paintings and stories by a celebrated and prolific multilingual Central Australian Aboriginal woman artist. Addressing our written text to intimate family and audiences from elsewhere, in multiple voices and modes of address, we offer an opportunity to consider the dynamics of creating, keeping and caring for memory through the affordances of digital co‐creativity. These include what we term 'painting remix animation', a form of what co‐author Rosalyn Boko calls mixamilani ('mixing together' of different elements). Guided by the artist's vibrant palette and life‐expressive practice, visitors to the article can move and rest amongst a variety of standpoints through which to attune to questions of history, memory, pictorial storytelling, love, friendship and joy. We hope that in this way, everyone can sense the world‐making powers and poetics of colour and understand how our style of slow research towards digital mixamilani creates a new kind of archive for holding paintings carefully, outside of the art commodity market. [ABSTRACT FROM AUTHOR]

The article examines the impact of AI scraping on the creative industries, highlighting its potential for enhancing creativity while posing legal, ethical, and economic challenges. It also discusses recent regulatory efforts by entities like the Writers Guild of America and the Federal Trade Commission to address concerns about AI's use in content creation, emphasizing implications for consumers, creators, and industry dynamics.

"After Midnight: Watchmen after Watchmen" is a collection of essays that explores the cultural impact of new narratives and adaptations of the original Watchmen comic. The book covers topics such as transmedia storytelling, race and American history, and nostalgia and trauma. It examines how these new stories contribute to the ongoing legacy of Watchmen and its narrative world. The text also discusses the HBO Watchmen series and its exploration of race, justice, and power within the superhero genre, highlighting its Afrofuturistic perspective and examination of historical and institutional racism. The essays in the book analyze the series and its impact, focusing on themes of accountability, trauma, and nostalgia, offering valuable insights into the cultural significance of Watchmen and its relevance to contemporary issues. [Extracted from the article]

This article examines prefigurative politics within a heterotopic parallel present activated by the contributions of the anarchist video collective sub.Media. Activists seeking to 'plug into' the resistance can find information, inspiration, and motivation by engaging with sub.Media's video originals and remixes. They are part of a vital activist ecosystem that encourages participation in prefigurative relationship building fomenting shared anti-authoritarian values. Through their connections with Indigenous and activist communities, sub.Media demonstrates how Indigenous warriors and anarchists may combine forces to mobilise generative resistance to colonialism in the thrust of Indigenous resurgence. [ABSTRACT FROM AUTHOR]

This article discusses a rare condition called PLACK syndrome, which is characterized by painless shedding of the outer layer of skin. The article presents a case study of an 11-year-old boy with PLACK syndrome who also experienced patchy hair loss on the scalp, a condition known as alopecia areata. The study identified a novel homozygous mutation in the CAST gene, which encodes calpastatin, a protein that inhibits calpain, an enzyme involved in cell processes. The article suggests a potential link between the CAST gene mutation and the development of alopecia areata, and proposes further research to explore this connection. [Extracted from the article]

Copyright of Cuadernos.info is the property of Pontificia Universidad Catolica de Chile, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A recent Bollywood trend involves producing a different version of an old recorded song by just adding or altering a few beats, changing the tempo, changing a few lines of the song, or mixing two or three old songs. This trend is known as the remix, remake, or mashup culture. All the social media platforms, such as YouTube, Instagram, etc., are flooded with such remixed versions. The question that arises is whether this is legal or not. If not, then all these social media influencers can be held liable for copyright violation. Music is protected under copyright laws, and any kind of alterations to the already existing music is considered an infringement. The paper examines this culture of remix, whether it amounts to copyright violation, and what remixers can do to avoid legal trouble. [ABSTRACT FROM AUTHOR]

Surface hot-in place recycling of asphalt mixtures has been conducted on Finnish roads for several years. The procedure is performed either in full-lane('remix') or shorter widths ('rut-remix'). In a 2020-2021 project, different mixture types were subjected to both kinds of recycling; reference mixtures, and mixtures modified with aramid fibres, FEP elastomer pellets, polymer, Storelastic rubber additive, recycled asphalt shingles, steel slag, and soft bitumen. This paper (Part II) presents the results of an extensive laboratory test plan at the bitumen scale. Asphalt mixture cores were recovered from four roads, and the bitumen was extracted fortesting. Various tests were performed on the bitumens in original state (aged, before recycling) and after recycling (remix or rut-remix), including FT-IR, DSR, MSCR, as well as bitumen content, penetration, and softening point. The master curves were constructed for all bitumens. Gradations are also presented herein. The effect of remix/rut-remix is evaluated via changes in all measured properties (including Glover-Rowe) before and after recycling, over a wide range of temperatures. The results complement the mixture-scale data and provide a comprehensive database of bitumen performance for an extended group of materials. Data appendices are accessible from the link at the bottom of the page. [ABSTRACT FROM AUTHOR]

Surface hot-in place recycling of asphalt mixtures has been conducted on Finnish roads for several years. The procedure is performed either in full-lane ('remix') or shorter widths ('rut-remix'). In a 2020–2021 project, different mixture types were subjected to both kinds of recycling; reference mixtures, and mixtures modified with aramid fibres, FEP elastomer pellets, polymer, Storelastic rubber additive, recycled asphalt shingles, steel slag, and soft bitumen. This paper (Part I) presents the results of an extensive laboratory test plan at the mixture scale. Asphalt mixture cores were recovered from four roads. Various tests were performed on the mixtures in original state (aged, before recycling) and after recycling (remix or rut-remix), including strength (ITSR), stiffness, Prall abrasion, creep permanent deformation, as well as bulk, air voids, and thickness measurements. The effect of remix/rut-remix is assessed using scores calculated from mixture-scale test results. The results show that remix and rut-remix are highly heterogeneous processes, affecting every material differently and sometimes erratically. Adequate air void contents and evenness in compaction are critical for good performance. The results provide a reference performance database for an extended group of materials. Data appendices are accessible from the link at the bottom of the page. [ABSTRACT FROM AUTHOR]

The modern development of culture motivates the appearance of new modifications of the play element, based on the concept of Homo Ludens by J. Huizinga. The article substantiates a new scientific concept – remixing as the dominant principle of the organization of artistic matter. A definition of this concept is provided. The specificity of its manifestation is thought over using examples from pop culture, academic musical art (in particular, the creativity of the pianist-composer M.-A. Hamelin, the sketch duo Igudesman & Joo, the Rondo Veneziano orchestra), authentic performance, the opera genre (productions of “Alcina” by G. Handel, “La Cenerentola” by G. Rossini), products of the TV industry. The main vectors of the remixing process are characterized in accordance with the realization of the final artistic goal. The organic nature of the interaction of play logic with the combinatorial thinking of Homo Modernus is revealed. [ABSTRACT FROM AUTHOR]

Copyright of Human Factors in Design is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

On 8 September 2022, the American artist Frank Stella launched a series of twenty-two digital art works minted as Non-Fungible Tokens (NFTs) in collaboration with Arsnl, the in-house platform by the Artist Rights Society (ARS). Titled Geometries, each "package," included the NFT that would affirm ownership and the corresponding geometric model designed by Stella in JPG (image), MP4 (video), SLS (3D printing), GLB (virtual reality and model manipulation), and USDZ (augmented reality). This range of digital formats alludes to two of Stella's innovations in this space: the license to remix and manipulate his models, and the ability to 3D print Geometries at any color, scale, and material. Taking Stella's foray into the NFT-space as a starting point, my article focuses on an emergent trend by artists engaging with Web3: the effort to bridge the physical and the digital by giving tangible form to NFT artworks and what this suggests for the future of digital materiality. The paper at its core seeks to examine the relationship between the physical referents to NFTs at the very moment when new media returns to historical forms. [ABSTRACT FROM AUTHOR]

Over several years, the German/Sri Lankan NGO VisAbility has been pioneering a mix of inclusive dance with rights education and advocacy to empower persons with conflict-related, physical impairments, first in Sri Lanka and, more recently, in Nepal. This article captures both the benefits and challenges of using dance for more transformative human rights education in informal settings. [ABSTRACT FROM AUTHOR]

Copyright of Atomic Energy Science & Technology is the property of Editorial Board of Atomic Energy Science & Technology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Recent literary developments, in digital culture and in marginal and hybrid forms, offer us new ways to reconcile our relationship with time, history and human agency. Remixed and hybrid forms, asshown, can unify disparate rhythms and frames, different temporal references from different historical periods, in one synthesized rhythmico-temporal environment. In a perceiving subject, the experience highlights a general poiesis of making and presents itself as a form of agency that can be applied to everyday life through an enhanced understanding of time, rhythm and material culture. [ABSTRACT FROM AUTHOR]

Classical music, unlike popular music, is usually recorded live with close microphone techniques. For this reason, isolated tracks are not available to create the final mixture/stream, and so the mixing process requires greater effort. Source separation methods are a potential solution to this problem. However, current algorithms are not fast enough to yield real-time separation in professional setups with dozens of microphones and sources. In this paper, we propose a fast approach consisting of a panning-based multichannel non-negative matrix factorization model to separate classical music. We tested the system on real professional recordings, where we were able to reach real-time with very low latency and promising quality. [ABSTRACT FROM AUTHOR]

The article focuses on the rise of the "slowed and reverb" audio-visual musical genre, particularly in the context of R&B singer SZA's album release. It explores the genre's origins in chopped and screwed music and vaporwave, examining how it has gained popularity through fan-created videos on platforms like TikTok and YouTube.

This article examines the overlooked phenomenon of how black British grime music artists intentionally and selectively remix Japanese pop cultural artifacts to carve out a hybrid cultural space that gives voice to their urban realities and articulates counterhegemonic black subjectivities. From the early 2000s, at the same time as state-centered discourses of 'Cool Japan' emerged to explain the global rise of Japanese pop culture, grime artists were already on their own terms sampling Japanese video games and anime to articulate emergent feelings of 'coldness', which reflects their sense of alienation on the margins of British society. The author introduces 'Cold Japan' as the other Cool Japan, and a way of understanding this fundamentally intertwined mode of cultural hybridity and being that forms the essence of black Britain's grime. This article uses the cyborg figure to disclose how grime artists transform Cold Japan into a site of countercultural resistance to subvert their oppression by self-generating and embodying transgressive posthuman identities. Examining how selected 'cold' Japanese pop cultural elements and technologies entangle with urban black life and identity formation in 21st century Britain, the article contributes to discussions on the impact of transnational flows of Japanese pop culture and cultural hybridization. [ABSTRACT FROM AUTHOR]

Ixazomib (IXA) is an oral proteasome inhibitor (PI) used in combination with lenalidomide and dexamethasone (IXA-Rd) for patients with relapsed and/or refractory multiple myeloma (RRMM). The REMIX study is one of the largest prospective, real-world analysis of the effectiveness of IXA-Rd in the setting of RRMM. Conducted in France between August 2017 and October 2019, the REMIX study, a non-interventional prospective study, included 376 patients receiving IXA-Rd in second line or later and followed for at least 24 months. Primary endpoint was the median progression-free survival (mPFS). Median age was 71 years (Q1-Q3 65.0 – 77.5) with 18.4% of participants older than 80 years. IXA-Rd was initiated in L2, L3 and L4 + for 60.4%, 18.1% and 21.5%, respectively. mPFS was 19.1 months (95% CI [15.9, 21.5]) and overall response rate (ORR) was 73.1%. mPFS was 21.5, 21.9 and 5.8 months in patients receiving IXA-Rd as L2, L3, L4 + respectively. Among patients receiving IXA-Rd in L2 and L3, mPFS was similar for patients previously exposed to lenalidomide (19.5 months) than for those lenalidomide naive (not exposed, 22.6 months, p = 0.29). mPFS was 19.1 months in patients younger than 80 years and 17.4 months in those 80 years or older (p = 0.06) with similar ORR (72.4% and 76.8%) in both subgroups. Adverse events (AEs) were reported in 78.2% of patients including 40.7% of treatment-related AE. IXA discontinuation was due to toxicity in 21% of patients. To conclude, the results of the REMIX study are consistent with the results of Tourmaline-MM1 and confirm the benefit of IXA-Rd combination in real life. It shows the interest of IXA-Rd in an older and frailer population, with an acceptable effectiveness and tolerance. [ABSTRACT FROM AUTHOR]

Drawing on the findings of the Remixing the Classics research network, this introduction highlights the importance of both digital culture and classic literature to adaptation studies today. It starts with a historiographical account of digital media's impact on adaptive creativity and adaptation studies, particularly in light of twenty-first-century franchise culture and transmedia storytelling. It then makes a case for the continued relevance of classic literature to these fields, despite its decreased prominence within adaptation studies and its near-invisibility in transmedia studies. That case is grounded in three arguments: the continued centrality of these texts in compulsory education, the potential for radical adaptations to articulate progressive political engagements through canonical works, and the special ability of repeatedly adapted literature to illuminate cultural change. The introduction finishes with a summary of the issue's contents and an assertion of the artistic, pedagogical, and political significance of new media to old stories and old stories to new media. [ABSTRACT FROM AUTHOR]

When we as faculty assign remediation projects ("make a theatre history meme", or "turn your essay into a presentation with images"), we are inviting students to remix. In the first - before I emphasized citation - a classical Greekinspired design for I Oedipus Rex i featured a prophet Teiresias incongruously bearded and robed in black because the student Google-image-searched "Greek priest" and had come up with images of Orthodox clergy. Even in theatre-rich locations, the limitations of student schedules and finances mean that still images are an essential part of theatre and performance courses. [Extracted from the article]

The main results of R&D in 2020–2021 is reviewed for designing process and manufacture of pelletized REMIX fuel for VVER-1000 reactor plants at the MCC. The developed hardware-technological flowsheet of the pellet manufacturing process, the results of introducing the technology of mixing and pelletizing powders with a vibrating ball mill and selecting the operation modes of the installation are described. The physicochemical parameters of the manufactured REMIX fuel pellets are summarized. [ABSTRACT FROM AUTHOR]