Appetite for Destruction. A firm-level portrait of automation in Poland

Plant proteases – an appetite for destruction

Microbiology![Figure][1] A shipworm removed from its wooden burrow PHOTO: R. M. O'CONNOR ET AL., PNAS 111, 47 (25 NOVEMBER 2014) © 2014 NATIONAL ACADEMY OF SCIENCES Shipworms are in fact mollusks that consume wood. They can cause devastation to wooden ships but they also clean up wreckage

This article examines for the first time to what extent the lived food-related experiences of incarcerated children match principles proclaimed in the United Nations Convention on the Rights of the Child and the Charter of Rights for Children and Young People Detained in Training Centres. In doing so, consideration is given to the broader personal, situational and structural factors that frame their lives. Drawing on interviews with 40 detainee’s aged 10–19 years at the Kurlana Tapa Youth Justice Centre in South Australia, what young people’s accounts reveal is that food is a punitive aspect of the custodial experience, particularly in so far as it fails to reflect cultural expectations or preferences. Additional institutional consultation with residents and changes to foodservice are needed to ensure cultural appropriateness in the detention environment, to promote the right of the child or young person to practice their culture, and to positively influence young people’s lives while they are in custody, and after their release.

There is a growing awareness that destructive leadership has a significant negative impact on employe outcomes. However, little is known about the content and dimensionality of this multidimensional concept, and there are few reliable measures available for organizations and researchers to evaluate these behaviors. Based on a representative sample (N = 1132) of the Swedish workforce, the aim of this study is threefold: first, to examine the factor structure and validity of an easy-to-use multidimensional destructive leadership measure (Destrudo-L)in the general Swedish work context; second, to identify destructive leadership profiles using latent profile analysis (LPA), and determine in what way they are related to employe outcomes; third, to examine the prevalence of destructive leadership using population weights to estimate responses of a population total in the Swedish workforce (N = 3100282). Our analysis supported the structural validity of Destrudo-L, reflecting both a global factor and specific subdimensions. We identified seven unique destructive leadership profiles along a passive and active continuum of destructive leadership behaviors, with the active showing a less favorable relation to employe outcomes. Finally, we found that a substantial proportion of the Swedish workforce report being exposed to destructive leadership (36.4–43.5%, depending on method used). Active destructive leadership was more common in the public sector and passive destructive leadership in the private. Given the potentially severe effects and the commonness of these behaviors, we argue that organizations should work actively with strategies to identify and intervene, to prevent and to handle the manifestation of these harmful behaviors.

It is well recognized how the modern social sciences, particularly in the United States, fed off and contributed to a nuclear state associated with the military-industrial complex. But it is less known that the thermonuclear revolution also constituted a productive moment for critical theories of (nuclear) techno-politics. In this article, we recover a strand of the latter by focusing on Günther Anders (1902–1992), a German philosopher of technology for whom thermonuclear weapons symbolized the self-destructive capacity embedded in a disenchanted modernity. We stress the techno-political dimensions of Anders’ philosophy by approaching it through his concept and metaphor of metabolism. Anders sought to update Marxist thinking to the age of technology to reawaken his readers to the realities and power dynamics of the nuclear condition and the ways in which these were consistently obscured. He pondered the grotesque human ability to live with a monstrous and suicidal weapon, while highlighting the dynamics of extraction and consumption that characterized both modern ‘mass’ society and nuclear techno-politics. Anders’ quest for emancipation focused on a nurturing of the imagination of modern human beings. We stress the critical, global and activist orientation of his analysis and discuss its merits and contemporary relevance.

Beginning in the early seventies, the artists and architects of SITE, Inc. staged a series of interventions into the everyday American practice of shopping that confronted some of the most crucial issues of public art.An increasingly contentious discourse in the late sixties and early seventies on the nature and role of public art, was triggered, in part, by various government initiatives to promote and fund public art projects, and focused on the gap between a consumption-driven mass culture and a modernist avant-garde defined in opposition to it.Central to the problem of defining an authentic form of public art was the question of what constituted authenticity in the face of commercialization and mass media.What aspects of contemporary culture were generated by the people, and what were merely debased forms of propaganda imposed by the culture industry?What was the relationship between the two?Did they operate purely in opposition to one another, or was it possible to imagine a more symbiotic negotiation at play, each appropriating, transforming, and providing new material for the other?The avant-garde had long held to the former position, and had argued that art should create a space of resistance to the commercialization of culture, although what form this resistance should take was continually debated.Complicating the issue was the fact that high art, despite its lofty goals and spiritual claims, was itself a commercial product, marketed to a wealthy elite who wished to distinguish themselves from the masses.Furthermore, the general public, for the most part, found little in this avant-garde vision to relate to, recognizing in the aesthetic of high modernism an unwillingness to address the everyday experiences that shaped public life.And while Pop Art addressed these issues with ferocious humor by appropriating the iconography of commercial culture to question the distinction between high art and commercial product, it did not challenge the assumption that the culture of the masses consisted of nothing more than the mindless pursuit of the latest brand-name product.SITE's projects, like Pop Art, drew upon the iconography of commercial culture and the public ritual of shopping for inspiration, but SITE turned away from the insular world of high art to confront the sticky question of how art should engage the attention of a public audience saturated by commercial spectacle.Should public art strive for pleasurable entertainment or discomforting challenge?Was it possible to achieve both at once, breaking up mundane routine in order to foster a more critical attitude towards the structures of contemporary life?The members of SITE argued that it was indeed possible to both entertain and challenge, and their work suggested that, in fact, these goals were not as contradictory as the custodians of high culture seemed to believe.Bringing popular culture, social critique, and commercial profit into play with one another, SITE spoke to the growing skepticism of the average American towards consumerism, modernist utopias, and official institutions-including the official institutions of public art and architecture.Yet despite SITE's success in engaging the public imagination-or rather because of it-SITE's projects continue to raise uncomfortable questions about the relationship between culture and consumption, and more specifically about the relationship between the general public and the artist as social critic.

Over the past few years, “food films” have been making moviegoers salivate. Stanlet Tucci and Campbell Scott’s Big Night (1996), George Tillman, Jr.’s Soul Food (1997) and Lasse Hallstrom’s Chocolat (2000) are just three examples of recent, popular feature films in which the production, presentation, and consumption of food fills the screen and tempts the audience. In 1997, New York Times food critic Molly O’Neill observed that food in Hollywood films was increasingly becoming “both plot and motive.”1 Indeed, the food-related activity in these productions is not only aesthetic; it also serves as a locus for social relations and cultural values, organizing narrative lines and soliciting audience response.

It is widely accepted that entrepreneurial creation affects destruction, as new and better organizations, technologies and transactions replace old ones. This phenomenon is labeled creative destruction, but it might more accurately be called destructive creation, given the driving role of creation in the process. We reverse the typical causal ordering, and ask whether destruction may drive creation. We argue that economic systems may get stuck in suboptimal equilibria due to path dependence, and that destruction may sweep away this inertia, and open the way for entrepreneurship. To test this idea, we need an exogenous destructive shock, rather than destruction that is endogenous to the process of economic progress. Our identification strategy relies on the September 11 attacks as an exogenous destructive shock to the economic system centered on New York City. Consistent with our theoretical claim, we find that 15months after the attacks the rate of business founding close to New York City exceeds the rate before the attacks, even after controlling for the inflow of recovery funds. Furthermore, the increase in the business founding rate after the attacks grows faster closer to Manhattan than it does further away from the epicenter of destruction.

1. Watching Food: The Production of Food, Film, and Values, Anne L. Bower Section I: Cooking Up Cultural Values 2. Feel Good Reel Food: A Taste of Cultural Kedgeree in Gurinder Chadha's What's Cooking?, Debnita Chakravarti 3. Food, Play, Business and the Image of Japan in Juzo's Tampopo, Michael Ashkenazi 4. Il Timpano- To Eat Good Food is to be Close to God: The Italian-American Reconciliation of Stanley Tucci's Big Night, Margaret Coyle 5.Cooking Mexicanness: Shaping National Identity in Alfonso Arau's Como agua para chocolate, Miriam Lopez-Rodriguez 6. Chickens, Jams, and Kitchens: Modern Food and Malay Films of the 1950s and 1960s, Timothy P. Barnard 7. I'll Have Whatever She's Having: Jews, Food, and Film, Nathan Abrams 8. Food as Representative of Ethnicity and Culture in George Tillman Jr.'s Soul Food, Maria Ripolli's Tortilla Soup, and Tim Reid's Once Upon A Time When We Were Colored, Robin Balthrope Section II: Focus on Women--the Body, the Spirit 9. Gendering the Feast: Women, Spirituality, and Grace in Three Food Films, Margaret McFadden 10. Food, Sex, and Power at the Dining Room Table in Zhang Yimou's Raise the Red Lantern, Ellen J. Fried 11. Anorexia Envisioned: Mike Leigh's Life is Sweet, Chul-Soo Park's 301/302, and Todd Haynes's Superstar, Gretchen Papazian 12. Production, Reproduction, Food, and Women in Herbert Biberman's Salt of the Earth and Lourdes Portillo and Nina Serrano's After The Earthquake, Carole Counihan 13. Images of Consumption in Jutta Bruckner's Hunger Years, Yogini Joglekar Section III: Making Movies, Making Meals 14. Appetite for Destruction: Gangster Food and Genre Convention in Quentin Tarantino's Pulp Fiction, Rebecca L. Epstein 15. Leave the Gun Take the Cannoli: Food and Family in the Modern American Mafia Film, Marlisa Santos 16. All-Consuming Passions: Peter Greenaway's The Cook, the Thief, His Wife and Her Lover, Raymond Armstrong 17. Jean-Pierre Jeunet and Marc Caro's Delicatessen: An Ambiguous Memory, an Ambivalent Meal, Kyri Watson Claflin 18. Futuristic Foodways: The Metaphorical Meaning of Food in Science Fiction Films, Laurel Forster 19. Supper, Slapstick, and Social Class: Dinner as Machine in the Silent Films of Buster Keaton, Eric L. Reinholtz 20. Banquet and Beast: The Civilizing Role of Food in 1930s Horror Films, Blair Davis 21. Engorged with Desire: Hitchcock Films and the Gendered Politics of Eating, David Greven 22. What About the Popcorn? Food and Film-Watching Experiences, James Lyons

Violence is a preferred theme for entertainment which is dramatically displayed by the mass media, especially television. Because programs with themes of violence and destruction are viewed by a great many adults, by default, a great many children also become active viewers. This chapter focuses on the portrayal of violent death in the media and the effect such portrayal has on children and youth. Toys and games are another cultural force, another medium for socializing children, predominantly boys, for violence. Playing with aggressive toys familiarizes children with the many ways people can kill one another. The subject of explicit rock lyrics is perhaps even more deeply controversial than that of televised and filmed aggression. Parents are the most significant people in children's lives. Parents can provide experiences that counteract the violent tenor in the popular culture today.

President Trump, Seriously and “Appetite for Destruction” and The Fury and Failure of Donald Trump

With the four anti-Terrorism games I wish to dissect here, there is the mission to liquidate terrorists to make a safer world (or in Spec Ops: The Line, to blot out an American force that is operating like a terror group in a political vacuum). That higher mission, however, is soon torn apart by the dependence on military agents to subdue terrorists whose anti-Western and pro-Islamist ideologies are not to be killed. For how does one kill an ideology cherished by millions on the ground, and whose belief is strengthened every time the death of an innocent Afghan or Iraqi civilian is witnessed? Rather than being preached at in an op-ed about our country’s failures and sins, or hearing it second hand, we take in the information from our own hands that pressed to shoot and our own eyes which saw the civilian sink fast. My analysis of the ideological ambiguity that strains inside these anti-terror video games is that they at first offer a U.S. Marine’s gung-ho vociferousness, a straining to accomplish the mission or what game theorists call achieving a “victory condition.” To understand that hunger to meet and defeat the enemy, we can travel with embedded reporters on real missions of engagement. One embedded reporter Tara Brown, for 60 Minutes Australia, records the thoughts of one American Marine in a Humvee on a 2006 search and destroy mission against the Taliban after dusk and then by day, where things were calm and suddenly violent. The Marine tells here: “They like the night, they like the moon, they like the mountaintops. … [During the day] they talk on the radios but they never wanna come out an’ play. Yeah. If I go somewhere an’ I’m gonna be away from my family, We need to play. … OH, Incoming. Yeah. OH, right there!” (qtd. in Brown 2006, min. 10:40-11:10). Video games of war have an appetite for destruction as this Marine’s, but then these four particular video games I address settle the player into a guilty morass. As Bogost, Ferrari, and Schweizer accurately observe, buttressed by articles from The Times of London, The Guardian, The Washington Post, and The New York Times, “terrorism cannot be attacked surgically, and violence begets more violence” (2010). However, the point is not to preach this to gamers but to let them experience it firsthand. I echo, then, what game theorist Miguel Sicart finds: that “the game has the ability to turn its player into a moral being, by stimulating ethical reasoning rather than telling players its message outright” (qtd. in Bogost et al. 2010).

The elevated metabolic requirements of cancer cells reflect their rapid growth and proliferation and are met through mutations in oncogenes and tumor suppressor genes that reprogram cellular processes. For example, in tuberous sclerosis complex (TSC)-related tumors, the loss of TSC1/2 function causes constitutive mTORC1 activity, which stimulates glycolysis, resulting in glucose addiction in vitro. In research published in Cell and Bioscience, Jiang and colleagues show that pharmacological restriction of glucose metabolism decreases tumor progression in a TSC xenograft model.See research article: http://www.cellandbioscience.com/content/1/1/34

Appetite for Destruction: Children and Violent Death in Popular Culture

Prey-selective venoms and toxins have been documented across only a few species of snakes. The lack of research in this area has been due to the absence of suitably flexible testing platforms. In order to test more species for prey specificity of their venom, we used an innovative taxonomically flexible, high-throughput biolayer interferometry approach to ascertain the relative binding of 29 α-neurotoxic venoms from African and Asian elapid representatives (26 Naja spp., Aspidelaps scutatus, Elapsoidea boulengeri, and four locales of Ophiophagus hannah) to the alpha-1 nicotinic acetylcholine receptor orthosteric (active) site for amphibian, lizard, snake, bird, and rodent targets. Our results detected prey-selective, intraspecific, and geographical differences of α-neurotoxic binding. The results also suggest that crude venom that shows prey selectivity is likely driven by the proportions of prey-specific α-neurotoxins with differential selectivity within the crude venom. Our results also suggest that since the α-neurotoxic prey targeting does not always account for the full dietary breadth of a species, other toxin classes with a different pathophysiological function likely play an equally important role in prey immobilisation of the crude venom depending on the prey type envenomated. The use of this innovative and taxonomically flexible diverse assay in functional venom testing can be key in attempting to understanding the evolution and ecology of α-neurotoxic snake venoms, as well as opening up biochemical and pharmacological avenues to explore other venom effects.