The Mobile Device: A new folk instrument?

2013 ◽  
Vol 18 (3) ◽  
pp. 299-305 ◽  
Author(s):  
Steve Jones
Keyword(s):  
Mobile Device ◽  
Folk Music ◽  
Electronic Music ◽  
Sound Processing ◽  
The Core ◽  
Music Making ◽  
Live Electronic Music ◽  
Mobile Music ◽  
Core Elements ◽  
Consumer Devices

Barbara Ballard's ‘carry principle’ defines the core elements of the mobile experience: small, personal, communicative, multifunctional, battery operated and always connected (Ballard 2007: 71). These qualities have ensured that for many of us some form of mobile device has become indispensable. Developments in mobile computing have meant that consumer devices are capable of increasingly sophisticated sound processing, leading to the emergence of new forms of mobile music. If this music is looked on as a new sub-genre of folk music, we might be able to put it in the context of live electronic music-making. With this in mind, this article will ask whether the mobile device has the potential to be considered a new folk instrument.

scholarly journals Electroacoustic Feedback and the Emergence of Sound Installation: Remarks on a line of flight in the live electronic music by Alvin Lucier and Max Neuhaus

2017 ◽  
Vol 22 (2) ◽  
pp. 268-275
Author(s):  
Matthieu Saladin
Keyword(s):  
Electronic Music ◽  
Electronic Device ◽  
Spatial Dimension ◽  
Sound Art ◽  
Electronic Medium ◽  
Sound Installation ◽  
The Core ◽  
Live Electronic Music ◽  
History Of ◽  
Sound Transformation

Reflecting upon Max Neuhaus’s and Alvin Lucier’s first electronic works on electroacoustic feedback, I will consider how their research into live electronic music, meant to be performed on stage, announced a whole other form of creation, which was paradoxically emancipated from the concert hall and essential to the emergence of sound art: sound installations. If both musicians first appropriated the electronic medium for its possibilities in sound transformation, it appears that these experimentations, and more precisely those using feedback, quickly extended into areas other than research on tone and the live dimension of electronic performances. Indeed, electroacoustic feedback, as a phenomenon of retroaction, goes beyond the mere relationship to the instrument: by manifesting itself in the looping of the electroacoustic chain (microphone-amplification-speakers), it straightaway inscribes the electronic device in a spatial dimension that is linked to the propagation of sound. By analysing Neuhaus’s and Lucier’s first experiments with feedback, the specificities of their apparatuses and the experiences they aimed to create and foster, this article wishes to question the role these experiments played in the emergence of both musicians’ concern with space, which is at the core of any understanding of their later works. We can then re-read their contribution to the history of live electronic music in the light of both bifurcations and lines of flight inherent in their respective bodies of work, in order to look into the emergence of a certain art of sound installation, in which the liveness of live electronic music, far from being pushed aside, seems to lead into other forms of creation and specific aesthetic questions.

What is the Core Elements of Social Innovation?

2019 ◽  
Vol 45 ◽  
pp. 83-109
Author(s):  
SangMi Cho ◽  
JongSerl Chun ◽  
SoYoung An ◽  
JiYeon Jung
Keyword(s):  
Social Innovation ◽  
The Core ◽  
Core Elements

Duoethnography: A Polytheoretical Approach to (Re)Storing, (Re)Storying the Meanings That One Gives

2020 ◽  
pp. 396-423
Author(s):  
John Joseph Norris ◽  
Richard D. Sawyer
Keyword(s):  
Social Justice ◽  
Critical Theory ◽  
Third Space ◽  
The Third ◽  
The Core ◽  
Wide Range ◽  
Core Elements ◽  
Feminist Inquiry

This chapter summarizes the advancement of duoethnography throughout its fifteen-year history, employing examples from a variety of topics in education and social justice to provide a wide range of approaches that one may take when conducting a duoethnography. A checklist articulates what its cofounders consider the core elements of duoethnographies, additional features that may or may not be employed and how some studies purporting to be duoethnographies may not be so. The chapter indicates connections between duoethnography and a number of methodological concepts including the third space, the problematics of representation, feminist inquiry, and critical theory using published examples by several duoethnographers.

Punk as Folk: Continuities and Tensions in the UK and Beyond

2020 ◽  
Author(s):  
Pete Dale
Keyword(s):  
Folk Music ◽  
Music Making ◽  
Collective Creativity ◽  
Living Tradition ◽  
Wide Range ◽  
The Us ◽  
The Common ◽  
The Individual ◽  
The Uk

Numerous claims have been made by a wide range of commentators that punk is somehow “a folk music” of some kind. Doubtless there are several continuities. Indeed, both tend to encourage amateur music-making, both often have affiliations with the Left, and both emerge at least partly from a collective/anti-competitive approach to music-making. However, there are also significant tensions between punk and folk as ideas/ideals and as applied in practice. Most obviously, punk makes claims to a “year zero” creativity (despite inevitably offering re-presentation of at least some existing elements in every instance), whereas folk music is supposed to carry forward a tradition (which, thankfully, is more recognized in recent decades as a subject-to-change “living tradition” than was the case in folk’s more purist periods). Politically, meanwhile, postwar folk has tended more toward a socialist and/or Marxist orientation, both in the US and UK, whereas punk has at least rhetorically claimed to be in favor of “anarchy” (in the UK, in particular). Collective creativity and competitive tendencies also differ between the two (perceived) genre areas. Although the folk scene’s “floor singer” tradition offers a dispersal of expressive opportunity comparable in some ways to the “anyone can do it” idea that gets associated with punk, the creative expectation of the individual within the group differs between the two. Punk has some similarities to folk, then, but there are tensions, too, and these are well worth examining if one is serious about testing out the common claim, in both folk and punk, that “anyone can do it.”

scholarly journals 178. Implementation of the Core Elements of Antibiotic Stewardship in Nursing Homes – National Healthcare Safety Network (NHSN), 2016–2018

2020 ◽  
Vol 7 (Supplement_1) ◽  
pp. S96-S96
Author(s):  
Katryna A Gouin ◽  
Sarah Kabbani; Angela Anttila ◽  
Josephine Mak ◽  
Elisabeth Mungai ◽  
Ti Tanissha McCray ◽  
...  
Keyword(s):  
Nursing Homes ◽  
Antibiotic Stewardship ◽  
Care Facility ◽  
Antibiotic Use ◽  
Infection Prevention And Control ◽  
Term Care ◽  
Long Term Care Facility ◽  
The Core ◽  
Use Of Resources ◽  
Core Elements

Abstract Background Since 2016, nursing homes (NHs) enrolled in the Centers for Disease Control and Prevention’s NHSN Long-term Care Facility (LTCF) Component have reported on their implementation of the core elements of antibiotic stewardship. In 2016, 42% of NHs reported implementing all seven core elements. Recent regulations require antibiotic stewardship programs in NHs. The objectives of this analysis were to track national progress in implementation of the core elements and evaluate how time dedicated to infection prevention and control (IPC) is associated with the implementation of the core elements. Methods We used the NHSN LTCF 2016–2018 Annual Surveys to assess NH characteristics and implementation of the core elements, defined as self-reported implementation of at least one corresponding stewardship activity. We reported absolute differences in percent implementation. We used log-binomial regression models to estimate the association between weekly IPC hours and the implementation of all seven core elements, while controlling for confounding by facility characteristics. Results We included 7,506 surveys from 2016–2018. In 2018, 71% of NHs reported implementation of all seven core elements, a 28% increase from 2016 (Fig. 1). The greatest increases in implementation from 2016–2018 were in Education (+19%), Reporting (+18%) and Drug Expertise (+15%) (Fig. 2). Ninety-eight percent of NHs had an individual responsible for antibiotic stewardship activities (Accountability), with 30% indicating that the role was fulfilled by an infection preventionist. Furthermore, 71% of NHs reported pharmacist involvement in improving antibiotic use, an increase of 27% since 2016. NHs that reported at least 20 hours of IPC activity per week were 14% more likely to implement all seven core elements, when controlling for facility ownership and affiliation, 95% CI: (1.07, 1.20). Conclusion NHs reported substantial progress in antibiotic stewardship implementation from 2016–2018. Improvements in accessing drug expertise, providing education and reporting antibiotic use may reflect increased stewardship awareness and use of resources among NH providers under new regulatory requirements. NHs with at least 20 hours dedicated to IPC per week may have greater capacity to implement all core elements. Disclosures All Authors: No reported disclosures

Webside manner: maskless communication

Diagnosis ◽  
2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Ankit Mehta ◽  
Benji K. Mathews
Keyword(s):  
Communication Skills ◽  
Rapid Expansion ◽  
Technical Aspects ◽  
The Core ◽  
Core Elements ◽  
Virtual Visits ◽  
Virtual Platform ◽  
Structured Approach

Abstract Telemedicine has seen a rapid expansion lately, with virtual visits ushering in telediagnosis. Given the shift in the interpersonal and technical aspects of communications in a virtual visit, it is prudent to understand its effect on the patient-provider relationships. A range of interpersonal and communication skills can be utilized during telemedicine consultations in establishing relationships, and reaching a diagnosis. We propose a construct of “webside manner,” a structured approach to ensure the core elements of bedside etiquette are translated into the virtual encounter. This approach entails the totality of any interpersonal exchange on a virtual platform, to ensure a clinician’s presence, empathy and compassion is translated through this medium.

Wrapping Blocks: A Fun Way to Teach Job Design

2019 ◽  
Vol 5 (2) ◽  
pp. 144-162
Author(s):  
Regina Yanson ◽  
Melissa J. Mann
Keyword(s):  
Resource Management ◽  
Human Resource Management ◽  
Human Resource ◽  
Job Characteristics ◽  
Job Design ◽  
Graduate Level ◽  
Experiential Teaching ◽  
The Core ◽  
Job Characteristics Model ◽  
Core Elements

This article provides an overview of job design and offers an experiential teaching exercise to help students develop a better comprehension of job design and redesign, as well as learn the importance and challenges of such undertakings. Understanding the core elements of job design is especially important because job design serves as the foundational block for a deeper understanding and application of other organizational phenomenon such as the job characteristics model. This exercise is intended for the introductory undergraduate and graduate-level human resource management course as well as any courses covering “staffing.” Additionally, this activity may be used in the undergraduate Principles of Management or associated introductory management class.

scholarly journals Introducing Gamification in the AR-Enhanced Order Picking Process: A Proposed Approach

Logistics ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 14
Author(s):  
Athina G. Bright ◽  
Stavros T. Ponis
Keyword(s):  
Industry 4.0 ◽  
Business Processes ◽  
Cyber Physical Systems ◽  
Order Picking ◽  
Physical Systems ◽  
The Core ◽  
Complex Process ◽  
Core Elements ◽  
Game Elements ◽  
Innovative Industry

In the last decade, the Industry 4.0 concept has introduced automation and cyber-physical systems as the core elements of future logistics, supported by an array of technologies, such as augmented reality (AR) providing the necessary support for the digital transformation of manufacturing and logistics and the smartification and digital refinement of traditional pre-Industry 4.0 processes. This paper studies the influence and the potential of gamification techniques in supporting innovative Industry 4.0-enhanced processes in the contemporary warehouse work ecosystem. Gamification in the workplace aims to motivate the employees and increase their involvement in an activity, while at the same time creating a sense of an everyday different experience rather than a set of repetitive and monotonous tasks. Since the design of such a system is a complex process, the most widespread design frameworks are studied, and the emphasis is on the principal game elements and their connection to mobilization mechanisms. Finally, an initial proposal of a gamification framework to support the AR-enhanced order picking process in contemporary logistics centers is provided with an emphasis on the mechanics of a fair and functional reward system. The proposed approach aims to showcase the potential alignment of business processes to human motivation, respecting the differences between tasks and the workers’ cognitive workload.

From Site-specific to Site-responsive: Sound art performances as participatory milieu

2017 ◽  
Vol 22 (1) ◽  
pp. 83-92 ◽  
Author(s):  
Lauren Hayes
Keyword(s):  
Visual Arts ◽  
Electronic Music ◽  
Sound Art ◽  
Cultural Institutions ◽  
Relational Aesthetics ◽  
Third Order ◽  
Site Specific ◽  
The Social ◽  
Live Electronic Music ◽  
Three Stages

This article concerns context-based live electronic music, specifically performances which occur in response to a particular location or space. I outline a set of practices which can be more accurately described as site-responsive, rather than site-specific. I develop a methodological framework for site-responsive live electronic music in three stages. First, I discuss the ambiguity of the termsite-specificby drawing on its origins within the visual arts and providing examples of how it has been used within sound art. I then suggest that site-responsive performance might be a more helpful way of describing this type of activity. I argue that it affords an opportunity for music to mediate the social, drawing on Small’s idea of music as sets of third-order relationships, and Bourriaud’s relational aesthetics. Third, I suggest that with the current renewed trend for performances occurring outside of cultural institutions, it is important to be mindful of the identity of a particular site, and those who have a cultural connection to it. I make reference to a series of works within my own creative practice which have explored these ideas.

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