The collective mobilisation of migrant workers is an important issue for analysis. Three key barriers to the of mobilisation of migrant workers have been identifiedemployment conditions that tend to prevent migrant workers coming together, the framings held by migrant workers that marginalise an understanding of their position as that of exploited workers and the issue of the sustainability of any mobilisation. The paper examines migrant domestic workers as a case in which collective mobilisation appears highly unlikely. The paper uses the social movement approach as a meta-theoretical framing to explore the collective mobilisation of migrant domestic workers in London. As such, it analyses how the 'unorganisable' organise. We show that mobilisation changed the framing of migrant domestic workers from 'labourers of love' to workers with rights. It was able to do this because it addressed the three barriers to mobilisation: by creating a space for the development of communities of coping among migrant workers; by using politicised learning; and by using participative democracy and collective leadership development, tied to links with formal organisations. The paper argues for the importance of social scientists examining 2 the creative processes by which migrant workers move towards collective mobilisation, and for the utility of a social movement approach in this process.

There has been an upsurge of interest regarding how actors engage with art within organizational processes. However, scholars have tended not to study the role of art within contemporary collective labour organizing. This article focuses on how participatory art may support flat, participative labour organizing, particularly among marginalized, relatively powerless workers. We present an ethnographic account of how art practices are deeply embedded within the flat organizing processes of Justice for Domestic Workers, a self-organizing group of migrant domestic workers in London. We reflect on this case to theorize the art of flat organizing, an ideal type of a set of participatory art practices that are compatible with and supportive of flat labour organizing.

Purpose Intravenous vitamin C (IVC) is used in a variety of disorders with limited supporting pharmacokinetic data. Herein we report a pharmacokinetic study in healthy volunteers and cancer participants with IVC doses in the range of 1-100 g. Methods A pharmacokinetic study was conducted in 21 healthy volunteers and 12 oncology participants. Healthy participants received IVC infusions of 1-100 g; oncology participants received IVC infusions of 25-100 g. Serial blood and complete urine samples were collected pre-infusion and for 24 h post-infusion. Pharmacokinetic parameters were computed using noncompartmental methods. Adverse events were monitored during the study. ResultsIn both cohorts, IVC exhibited first-order kinetics at doses up to 75 g. At 100 g, maximum concentration (C max ) plateaued in both groups, whereas area under the concentration-time curve (AUC) only plateaued in the healthy group. IVC was primarily excreted through urine. No saturation of clearance was observed; however, the mean 24-h total IVC excretion in urine for all doses was lower in oncology participants (89% of dose) than in healthy participants at 100 g (99%). No significant adverse events were observed; thus, maximum tolerated dose (MTD) was not reached. Conclusion IVC followed first-order pharmacokinetics up to 75 g and at up to 100 g had complete renal clearance in 24 h. IVC up to 100 g elicited no adverse effects or significant physiological/biochemical changes and appears to be safe. These data can be used to rectify existing misinformation and to guide future clinical trials. Registration ClinicalTrials.gov identifier number NCT01833351.

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