Journal articles on the topic 'Guitar collaboration'

We have successfully developed an acoustic guitar (Figure 1) composed of graphite. Trademarked the RainSong® graphite guitar, this instrument uses no endangered tropical tonewoods. The instrument's sound quality is equal to that of a fine wooden guitar. At high frequencies, the clarity, sustain, and play-ability surpasses that of wooden guitars. Because of its construction, the instrument is sturdy and is impervious to humidity, heat, and water.The development of this guitar required analysis of the theory of anisotropic sound propagation in the guitar soundboard and body, and resulted in two patents. We designed prototype guitars in collaboration with Pimentel & Sons, Guitar Makers, and used combinations of unidirectional and woven graphite and aramid fibers in an epoxy-resin matrix.The goal of our project was to accurately duplicate—panel by panel—the acoustic properties of a fine wooden guitar. We had the resulting acoustic modes and frequencies verified in the laboratory. We then developed and constructed open-mold and resin-transfer molding tooling for a family of classical, steel-string acoustic and hollow-body electric guitars, which are now in commercial production.Possibly the first all-composite acoustic guitar, the RainSong® represents a fundamental change in stringed-instrument construction, perhaps the first since the 17th Century Italian masters.The RainSong® technology allows musicians to skirt the effects of climate and transport damage on their instruments. The instrument contains essentially no wood, and hence negates environmental concerns about rapid depletion of the virgin-forest woods, from which stringed instruments have traditionally been made.

This study aims to describe the musical form of Marendeng Marampa'", a local song in Toraja, Tana Toraja Regency, South Sulawesi Province, Indonesia, arranged by the Tindoki Band. The qualitative data in this research are obtained by doing observation, interviews, documentation, and discography. The results of this research show that " Marendeng Marampa'" arranged by Tindoki Band have two parts, i.e. the form A-B, with the sequence A-A' A-A-A'-B-B-B" consisting of several figures, motives, phrases (antecedent phrase and consequent phrase). Its musical instruments used in this arrangement are collaboration between the traditional musical instruments in Toraja, including Toraja gandang, Toraja flute, basin bassin/tulali, karombi, and modern (Western) music, i.e. electric guitar, bass guitar, keyboard, and electric drums, which lyrics are incorporated into the arrangement of Ma'bugi and Manimbong. Marendeng Marampa'" means safe, peaceful land of birth and is also a unifying song for the people of Toraja. The song is a reminiscent for the people of Toraja to remind their home region that tondok kadadian is their land of birth.

In response to a college call for new interdisciplinary coursework in the Natural and Health Sciences, an undergraduate level course was created with focus on the physics and biophysics of sound. The physics of sound production in musical instruments is used as a model for understanding vocal production and sound reception, with emphasis on relevant issues of vocal and hearing health promotion. This project-based course, titled “Musical Acoustics and Health Issues,” was designed in collaboration with faculty from Audiology, Speech Science, Public Health, Music, Physics, Music Technology, and Science Education. Student performance is assessed through a series of eight hands-on projects designed to maximize active learning strategies. Course projects center on the concept of “sound as energy” and include the construction of string-based (cigar box guitar) and tube-based (PVC pipe didgeridoo) instruments. Course design, project details, and course outcomes are presented.

Rosette guitar quartet is a guitar quartet group consisting of four guitar players and on originally the Rosette guitar quartet was performing classical guitar songs arranged in four guitars. Method in this research using an qualitative approach. Qualitative research tries to answer question rather than testing the hypothesis. This research uses creative process theory and innovations theory which consist of 4 types, namely (1) Discovery (2) Extension (3) Duplication (4) Synthesis. The Result of innovation made by Rosette guitar quartet are (1) Invention made by Rosette Guitar is creating a new process in the guitar quartet group perfoming songs in postmodern era and uploaded on social media, such as “Youtube”, (2) Development of the Rosette guitar expresses his works in social media, where to adjust the new habits to music enthusiast that can appreciate perfoming of Rosette by virtual. (3) Rosette Guitar duplicate the most successful musicians used to express and maximize each his work in “Youtube” which gets a lot of appreciation (viewers) according to the new normal era. (4) The Rosette guitar perfoms synthesis with create new works every month and uploaded on “Youtube”. Collaborative creative process of this synthesis considered by Rosette guitar quartet as great opportunity to music works, expression as well as new innovations in industry creative in the new normal era.Keywords: Innovation, Creative Process, New Normal.

When individuals coordinate their behaviour, they need to both anticipate actions and respond to each other in meaningful ways. Jazz musicians often encounter situations in jam sessions in which they interact with previously unknown musicians, allowing insights into spontaneous collaboration. The current study investigated call and response patterns in free jazz improvisations by analysing movement and musical characteristics of duos. Twelve jazz musicians were paired into six duos of an e-guitar and a saxophone. Balanced across duos, one musician was asked to play a series of improvisations expressing the emotions happy, sad or neutral. The second musician responded to each improvisation without knowing the emotional intention of the first musician. Call and response roles were then exchanged. While musicians improvised or listened to their duo partner, they were both recorded with an optical motion capture system. Results indicate correspondences between call and response musicians in movement variability and cumulative distance of head motion. There were marked differences between happy and sad emotional expressions both in movement parameters and musical features including mean intensity, mode, and, albeit to a lesser extent, tempo. Retrospective verbal decoding of the call musicians’ emotional intentions was correct in 76.5% of all cases. Independently of explicit decoding success and even for the first encounters, musicians spontaneously tuned into each other’s performances by means of their body movements and the musical characteristics of the improvisations.

This study discusses the collaboration of traditional musical instruments and modern musical instruments in accompanying Sunday services at HKBP Tanjung Sari Medan. The purpose of this study was to find out the background and process of collaboration of traditional musical instruments and modern musical instruments in the HKBP Tanjung Sari church in Medan. The method used in this study is qualitative descriptive. The location of the study was carried out at the Tanjung Sari HKBP church, Jl. Setia Budi No. 11, Medan. The population of this study is traditional musical instruments and modern musical instruments used in accompanying Sunday services at HKBP Tanjung Sari Medan. While the samples in this study were Taganing, drums, keyboards, acoustic guitars, bass guitars, saxophone which were used to accompany Sunday services at HKBP Tanjung Sari Medan. The data collection technique is through observation, interviews, documentation, and library studies. Based on the results of the study, it can be seen that traditional musical instruments and modern musical instruments used in accompanying Sunday services at HKBP Tanjung Sari Medan, namely: Taganing, drums, keyboards, acoustic guitars, bass guitars, saxophone. The songs used in accompanying Sunday Service at HKBP Tanjung Sari Medan, and the collaboration process of traditional musical instruments and modern musical instruments in the HKBP Tanjung Sari church in Medan.

AbstractThis article addresses Guitar Hero and Rock Band gameplay as a developing form of collaborative, participatory rock music performance. Drawing on ethnomusicology, performance studies, popular music studies, gender and sexuality studies, and interdisciplinary digital media scholarship, I investigate the games' models of rock heroism, media debates about their impact, and players' ideas about genuine musicality, rock authenticity, and gendered performance conventions. Grounded in ethnographic research—including interviews, a Web-based qualitative survey, and media reception analysis—this article enhances our understanding of performance at the intersection of the “virtual” and the “real,” while also documenting the changing nature of amateur musicianship in an increasingly technologically mediated world.

Purpose The increase in the supply chain complexity demands new professionals who are able to deal with the new challenges faced nowadays. The purpose of this work is to propose an international university–industry collaboration model to develop supply chain management competences in students as a tool for the training of future professionals. Design/methodology/approach This study proposes an international collaboration model to develop supply chain competences. The model consists of three main phases from the genesis of the collaboration to the assessment of the competence development. This study validates the model collaborating with one of the largest retailer companies in Mexico. Findings Results identify collaboration good practices and point at possible improvements for the next model iteration. This study identifies four key supply chain competences as part of this model. Three didactic approaches (i.e. guidance methods) and two student’s involvement schemes were tested. The results show that professors acting as an advisor (i.e. acting as a guider without telling student directly what to do or how to do it) plus a voluntary student’s involvement in the project promote better competence development. Originality/value The first contribution of this research is the definition of an international collaboration model that promotes competence-based education. Also, this study documents good practices for this type of partnership. The second one refers to a large-scale model validation (i.e. 14-week experiment in nine different regions of Mexico involving a retail company, 20 professor-researchers and more than 100 students). The third contribution includes the assessment of different levels of competences development using diverse students’ participation schemes and professor’s guidance methods.

In cubist paintings by Picasso, Braque and Gris it is possible to detect everyday objects like guitars, bottles or jugs, although they are often difficult to decipher. In this art-science collaborative study the authors found that participants without expertise in cubism appreciated cubist artworks more if they were able to detect concealed objects in them. The finding of this strong correlation between detectability and preference offers wide implications for art history and human cognition as it points to a mechanism that allows us to derive pleasure from searching for and finding meaningful patterns.

Scott Sloan (1954–2019) was a leader of academic engineering in Australia and beyond, as evidenced by his numerous professional accolades and important research achievements, which have had significant impact on his chosen profession of geotechnical engineering. Educated in Australia and the United Kingdom, he returned to Australia in 1984 and developed a large and active research group at the University of Newcastle, and tackled a wide range of important problems in civil and mining engineering. These include the development of computational methods to predict the mechanical behaviour of soil and rock masses, and his pioneering methods to predict the collapse states of structures made of, on, and in, earth materials, allowing engineers to design cheaper and safer civil infrastructure around the globe. Sloan established long-standing international collaborations and was awarded many honours for his research achievements. He was also a keen and skilful fisherman and a more than competent blues guitar player.

RÉSUMÉLa recherche en santé autochtone au Canada a été négligée dans le passé et qualifiée de problématique, notamment en raison du manque de collaboration avec les peuples autochtones. L’Énoncé de politique des trois Conseils sur l’éthique de la recherche avec des êtres humains décrit au chapitre 9 la conduite éthique de la recherche axée sur les Premières nations, les Inuits et les Métis. Les principes PCAP® des Premières nations (propriété, contrôle, accès et possession) soulignent l’importance majeure de l’engagement et de la gouvernance autochtones. En vue d’assurer que les buts et les activités de la recherche développée soient réalisés en partenariat complet et significatif avec les peuples et les communautés autochtones, il est possible de faire appel à des méthodes de recherche participative communautaire (RPC) intégrant leur plein engagement. Les recherches utilisant des ensembles de données secondaires, telles que les données administratives sur la santé recueillies en routine, ne devraient plus être exclues de cette approche. Notre objectif était de décrire comment notre équipe de chercheurs universitaires, alliée à un organisme national de santé autochtone, a adapté les méthodes de RPC dans le cadre d’un projet de recherche utilisant des données recueillies antérieurement pour examiner les lacunes dans la prestation de soins de fin de vie aux peuples autochtones en Ontario. Nous décrivons le processus d’élaboration de ce partenariat de recherche et expliquons comment l’intégration des principes de base et des processus de formation du savoir autochtones ont guidé cette collaboration. Notre partenariat de recherche, qui implique l’adaptation de méthodes de RPC, illustre un processus d’engagement qui pourrait guider d’autres chercheurs désirant mener des recherches en santé autochtone à l’aide de données déjà recueillies. Nous faisons aussi état d’une entente de recherche transparente, négociée équitablement entre un organisme national de santé autochtone et des chercheurs, qui pourrait servir de cadre pour des collaborations de recherche similaires. Il est essentiel de s’assurer que les perspectives autochtones soient au cœur des processus de recherche et qu’elles soient reflétées dans ceux-ci lorsque des données administratives sur la santé sont utilisées.

RÉSUMÉL’application d’approches d’équipes en soins de santé de première ligne (SPL) pour le diagnostic et le traitement de la démence est considérée comme une pratique exemplaire. Malheureusement, il arrive fréquemment que les personnes vivant dans les régions rurales et éloignées aient peu d’accès à des services de SPL spécialisés pour la démence. Le but de cet examen de la portée était d’identifier et de comprendre les approches d’équipes en SPL pour les soins en milieu rural visant les cas de démence. La stratégie de recherche utilisée a uniquement inclus des articles de revues à comité de lecture publiés entre 1997 et 2017. Quatre bases de données (Embase, Medline PsycInfo et CINAHL) ont été consultées de mars 2017 à mai 2017. Les dix études retenues montraient des degrés de collaboration et des interactions variables dans les équipes de soins. Peu d’informations étaient rapportées sur les stratégies de collaboration de ces équipes. Une adaptation du modèle socioécologique a été utilisée pour catégoriser les facteurs clés influençant les approches collaboratives. Ces résultats rassemblés pourraient être utilisés pour guider la recherche future et l’élaboration d’un modèle de soins de santé de première ligne pour la démence dans les milieux ruraux.

In researching student learning experience in Higher Education, a dearth of studies has investigated cognitive, social, and material dimensions simultaneously with the same population. From an ecological perspective of learning, this study examined the interrelatedness amongst key elements in these dimensions of 365 undergraduates’ personalised learning networks. Data were collected from questionnaires, learning analytics, and course marks to measure these elements in the blended learning experience and academic performance. Students reported qualitatively different cognitive engagement between an understanding and a reproducing learning orientation towards learning, which when combined with their choices of collaboration, generated five qualitatively different patterns of collaboration. The results revealed that students had an understanding learning orientation and chose to collaborate with students of similar learning orientation tended to have more successful blended learning experience. Their personalised learning networks were characterized by self-reported adoption of deep approaches to face-to-face and online learning; positive perceptions of the integration between online environment and the course design; the way they collaborated and positioned themselves in their collaborative networks; and they were more engaged with online learning activities in the course. The study had significant implications to inform theory development in learning ecology research and to guide curriculum design, teaching, and learning. En la Educación Superior, pocos estudios han investigado simultáneamente las dimensiones cognitivas, sociales y materiales de una misma población. Desde una perspectiva ecológica del aprendizaje, este estudio examina la interrelación entre elementos clave a partir de estas dimensiones en las redes personalizadas de 365 estudiantes. Los datos procedentes de cuestionarios, análisis de aprendizaje y calificaciones del curso permiten considerar estos aspectos en la experiencia de aprendizaje y en el rendimiento académico. Los participantes registraron niveles cualitativamente dispares en el nivel de implicación en el curso, oscilando de un enfoque orientado a la comprensión a enfoques basados en la reproducción de contenidos, lo que, junto a sus opciones de colaboración, generó cinco patrones distintos. Los resultados revelaron que una orientación más comprensiva y una cooperación con estudiantes de orientaciones similares tiende a asociarse con mejores rendimientos en el aprendizaje semipresencial. Sus redes personalizadas se caracterizaron por enfoques más profundos hacia el aprendizaje presencial y virtual; percepciones positivas hacia la integración de ambos contextos; el diseño del curso, por la forma y modo de colaboración; y por una mayor implicación en las actividades en línea. El estudio tuvo implicaciones significativas de aplicación en el desarrollo teórico de la investigación en la ecología del aprendizaje, así como en la forma de guiar el diseño del currículum, la práctica docente y el aprendizaje.

The quality of education depends on the teacher as well as to the curriculum. As the prime movers to attain the addressed goals in the curriculum, teachers must have the desire to grow and improve through professional development and constant learning towards students ‘academic achievement. The descriptive method of research was utilized in this study to assess the competency level of the MAPEH teachers in teaching performing arts based on the K to 12 Curriculum. Results of the study revealed that majority of the respondents were females, married and 40 years old and below. They earned units/finished their master’s degree, held a teacher position, and had 10 years and below teaching experience. With regard to artistic inclinations particularly in terms of dancing, majority of them have potential in folk dance and modern dance. In terms of music, some teachers could play musical instruments skillfully such as guitar and piano/organ. They were highly competent in using assessment data, monitoring students’ data and achievement, using ICT resources for the teaching-learning process, giving feedbacks, making good use of allotted time and employing design. Individual or group experiential learning, cooperative learning, project method and collaborative activities were most commonly used strategies in teaching performing arts. Meanwhile, lack of facilities and equipment and limited seminars, workshops, and trainings attended were the common problems encountered.

Ce self-study propose l’analyse d’une expérience de supervision à distance d’enseignants en formation à l’aide d’un dispositif numérique lors d’un stage à l’étranger. Au coeur du dispositif de cette « e-supervision », on retrouve la rédaction d’un blogue par le superviseur-chercheur. L’étude porte sur les manifestations de présence sur ce blogue qui tente de modéliser une pratique réflexive au sein d’une communauté d’apprentissage en ligne réunissant six stagiaires. L’analyse du contenu des billets du blogue s’est faite en collaboration avec un ami critique, selon la démarche méthodologique du self-study. Les résultats révèlent que la pratique réflexive du superviseur semble stimuler celle des stagiaires et que plusieurs indicateurs des présences enseignante, cognitive et sociale se manifestent par le blogue. Ainsi, le blogue consolide la posture d’accompagnateur du superviseur de stage dans un contexte d’e-formation, tout en mettant en lumière certains gestes pouvant guider cette pratique en émergence.

À la fois projet socioculturel et de recherche par le milieu, le Laboratoire Culture Inclusive, de l’organisme Exeko (Montréal, Canada), a mis en place entre 2016 et 2019 différents volets d’activités mêlant des pratiques propres à la recherche-création, à l’ethnographie collaborative, à la médiation culturelle, au théâtre invisible, à la création littéraire et aux arts visuels. Ces expérimentations, s’inscrivant dans une approche d’épistémologie sociale critique, visaient à la fois à rendre compte des différentes perspectives situées des groupes et personnes minorisées ou marginalisées parties prenantes du projet et à faciliter la construction collective de connaissances autour de l’accès aux arts et à la culture. En adoptant la forme d’un compte-rendu s’intéressant particulièrement aux hybridations méthodologiques, cet article propose certaines pistes de réflexion et d’action pour guider la recherche partenariale et participative ainsi que l’action culturelle et communautaire.

This study aimed to determine the role of teachers in the implementation of counseling guidance. The teachers' role in the implementation of counseling must able to involve parties in schools such as students, subject teachers, school principals, and parents so that the counseling program can be carried out properly because there are few things or problems that often arise during the school day. The role of the teacher in this study is the role of a guider, counselor, informant, facilitator, mediator, collaborator, organizer, motivator, director, initiator, transmitter, and evaluator in achieving educational success. This type of research is library research, the method used is qualitative descriptive, Data were analyzed narratively. The result showed that teachers carried out their roles by implementing a continuous process, voluntary nuances, guiding principles for both male and female students, implementing Eastern culture, and implementing effective and efficient implementation.

La collaboration entre l’école et la famille est de plus en plus privilégiée comme moyen pour favoriser la réussite et la persévérance scolaires. Celle-ci repose, entre autres, sur un partage des responsabilités entre les parents et les enseignants. Les objectifs de cet article consistent à : (1) proposer un modèle intégrateur des divers facteurs et processus de la collaboration école-famille; (2) cerner des conditions facilitantes et des conditions contraignantes qui contribuent ou nuisent au développement de relations écolefamille collaboratives; et (3) inventorier des éléments d’un cadre éthique visant à guider parents et enseignants par rapport à la compréhension et l’exercice de leur rôle respectif. Cet article fait référence à la fois aux recensions des écrits, rapports et résultats des études que nous avons effectuées ainsi qu’aux études menées par des chefs de file internationaux au cours des quinze dernières années. Puis, en s’inspirant du modèle anthropologique de Développement humain et Processus de production du handicap (Fougeyrollas, Bergeron, Cloutier, Côté, et St-Michel, 1998), nous illustrons la dynamique des interactions entre, d’une part, les facteurs associés aux jeunes, aux parents et aux familles et, à l’école et aux enseignants et d’autre part, les processus familiaux et scolaires dans le développement de relations école-famille collaboratives. L’importance de la compréhension des parents et spécialement des enseignants de leur rôle respectif est mise de l’avant. Finalement, à l’aide de cadres éthiques, nous posons quelques jalons visant à cerner les compétences interpellées ainsi que les valeurs et principes qui les sous-tendent. Les défis que doivent relever les enseignants sont nombreux et l’agir professionnel éthique est un impératif dans le domaine de l’éducation.

Depuis quelques années, beaucoup de nouveautés technologiques ont fait leur apparition en éducation. Deux de ces technologies, la réalité virtuelle et la réalité augmentée, nous intéressent plus particulièrement. La réalité virtuelle permet, notamment à l’aide d’un casque, de s’immerger totalement dans un univers entièrement conçu avec des objets irréels et numériques tandis que la réalité augmentée permet, avec des lunettes ou un mobile, d’ajouter des éléments numériques à la réalité, notamment par superposition (Wang, Callaghan, Bernhardt, White et Peña-Rios, 2018). Cet article est le résultat d’une revue de littérature portant sur le domaine de la réalité virtuelle et augmentée en éducation. L’article a pour objectifs, dans un premier temps, d’approfondir nos connaissances du domaine afin d’apporter des éléments de réponse à la question de la pertinence et de l’efficacité de ce type d’artefacts en éducation, et dans un deuxième temps, d’identifier des principes qui peuvent guider la conception d’artefacts éducatifs en réalité virtuelle et augmentée. La méthodologie de la revue de littérature est basée sur la méthode EPPI (Evidence for Policy and Practice Information and Co-ordinating). Les résultats seront présentés par thèmes tels que la motivation, l’immersion, la collaboration et la conception.

Drug abuse has became a serious problem and related to many aspects of human beings physically, psychologically, socially, etc. It is also leaded to early death, physical disability, social lost, economic impact, etc. Therefore, it is highly recommended appropriated approaches in preventing drug abuse. One basic purpose of this research was to find out the parents’ roles in preventing drug abuse among teenagers. That parent is obligated to educate their children as a main responsibility to God by having the children. Children are educated regularly in any occasions and conditions. The research applied the qualitative approach where the data collection was interview. The research location was in Banda Aceh. In addition, the samples of the study were unemployed and employed parents. The results of the research describes the efforts of parents in preventing their children from abusing drug, parents’ role as supervisors, indeed, parents should know their children friends, solving family problems, collaborating with educational institutions (schools or universities), collaborating with home environment, morever, it could be understood that to stop drug abuse need all parties involvement. Ideally, it should be started from the family. It is believed family is the first “school” for children. The role of parents however is very important in preventing drug abuse as a role model, a guider, a supervisor, in addition, parents need to know their children friends, to solve family problems, to collaborate with educational institutions (schools or universities),and to collaborate with environment nearby the home.

Plants and photosynthetic bacteria obtain their energy from sunlight or surrounding radiation. Their photosynthetic membranes are composed of a much elaborated series of antenna molecules based on chlorophylls or bacteriochlorophylls, carotenoids playing multiple roles, various electron transport accessories, and central special pairs. The latter components are the most difficult to mimic with exactitude because the structure−property relationship depends on many factors including interplanar distance, slip angle, substituents, metal, and axial ligand. To this list of factors to control with quasi-perfection, one should also add the thermal activation (i.e., temperature). Over the past 15 years or so (2001–2013), an intensive collaboration with Professor Roger Guilard (Université de Bourgogne, Dijon) dealt with elucidating the role of each parameter to provide the best design of artificial special pairs capable of responding or behaving like the natural special pairs, namely with regards with the antenna effect. The latest feature is one of the defence mechanisms slowing down the rate for the primary electron transfer from the special pair to the electron transport accessories. This review highlights the advances in this challenging area of mimicry of the photophysical events in biological systems, namely the artificial special pairs designed in our laboratory for the antenna processes.

Comparées à celles de l’homme et de la souris, les cartes génétiques des espèces d’élevage sont encore très rudimentaires. Toutefois, la gamme des techniques actuellement disponibles permet désormais de progresser rapidement dans l’établissement de ces cartes. L’objectif immédiat des équipes de génétique moléculaire et cytogénétique de l’INRA est d’identifier, pour les génomes bovin (à Jouy-en-Josas) et porcin (à Toulouse essentiellement), un premier réseau de marqueurs distants d’environ 20 centimorgans, soit un ensemble d’environ 150 marqueurs. Compte tenu du fait que l’organisation du génome est relativement conservée d’une espèce de mammifères à l’autre, les connaissances acquises chez l’homme et la souris permettront, dans une certaine mesure, de guider les travaux de cartographie des espèces d’élevage. On attend de ces recherches : 1) la mise en évidence des régions du génome intervenant dans la variabilité des caractères quantitatifs ; 2) des bases de départ pour le clonage des gènes d’intérêt zootechnique ; 3) le repérage précoce de gènes majeurs à l’aide de gènes marqueurs proches ; 4) une meilleure appréciation de la diversité génétique des races et 5) une précision accrue dans l’identification des animaux et le contrôle des filiations. Des collaborations internationales se mettent en place, notamment dans le cadre de la CEE.

AbstractIn educational settings, peer assessment is defined as the process of considering the level, value, worth, quality or success of the outcomes of learning by classmates with the same status (i.e. peers). In the framework of an educational innovation project at Universidad Carlos III de Madrid (UC3M), peer assessment has been implemented during two years in the course of “Energy in Buildings”. In this subject, students individually develop their own project, mainly based on software tools, and apply the knowledge and skills learned within the course. The goal of peer assessment in this course is, not so much to increase student’s marks, but to increase their learning outcomes. The resulting classroom setting also allows a smoother transition to real-life professional settings and the development of interpersonal skills with future co-workers. A learning management system was utilized: Aula Global, virtual platform for students at UC3M, that is based on Moodle. Peer assessment was enabled by using the workshop activity in Moodle platform. To guide the assessment by the students, rubric templates were generated in the same virtual platform. This paper presents the lessons learned during the last year of application of peer assessment in “Energy in Buildings” course.ResumenEn entornos educativos, la evaluación por pares se define como el proceso de considerar el nivel, valor y calidad o éxito de los resultados de aprendizaje por parte de los propios compañeros (i.e. pares o iguales). En el marco de un proyecto de innovación docente de la Universidad Carlos III de Madrid (UC3M), la evaluación por pares se ha implementado durante dos años en la asignatura ”Energía en la Edificación”. En ella, los estudiantes desarrollan de forma individual su propio proyecto, fundamentalmente basado en herramientas informáticas, y aplican los conocimientos y destrezas que adquieren a lo largo del curso. El objetivo de la revisión por pares en esta asignatura es incrementar, no tanto las calificaciones de los alumnos, sino más bien los resultados de aprendizaje. El entorno de clase resultante permite además una transición más suave hacia la realidad profesional y el desarrollo de habilidades interpersonales con futuros compañeros de trabajo. Se utilizó un sistema de gestión de aprendizaje: Aula Global, plataforma virtual para estudiantes de la UC3M, la cual se basa en Moodle. La evaluación por pares se habilitó mediante la actividad de taller en la plataforma Moodle. Para guiar la evaluación por parte de los estudiantes, se generaron plantillas de rúbrica en la propia plataforma virtual. Este trabajo presenta las lecciones aprendidas durante el último año de aplicación de la revisión por pares en la asignatura de “Energía en la Edificación”.

RésuméDans cet article nous présentons une réflexion sémiotique sur la représentation de l’humain et du non-humain dans des discours de techno-fiction reflétant l’humanité transitoire en relation avec le progrès technoscientifique. Les signifiants dénotatifs dans le contexte narratif nous conduisent à observer et à analyser les signifiés connotatifs. C’est dans cet esprit que nous examinerons des scènes tirées du film de science-fiction coréen La Créature céleste portant sur l’existence de l’humain, et son rapport ontologique avec la technologie. Ce film unique en son genre traitant à la fois de la machine et de la spiritualité dans la tradition du bouddhisme s’appuie sur les principes fondamentaux du Mahayana (Grand Véhicule) comme la vacuité, l’éveil et la nature-de-bouddha et propose, avec un bouddha robot et un homme-machine, une représentation bien particulière de l’humanité en transition. Ce film contient diverses propositions vis-à-vis d’un phénomène mystérieux et problématique, produit par une technologie future. Nous proposons d’analyser les différentes significations telles que le dualisme du corps et de l’esprit, un fantasme permettant surmonter la limite physique par le recours à la technologie, une inscription corporelle de l’esprit et l’interaction dans l’environnement technoscientifique. Il est possible d’appliquer cette interprétation aux autres discours de techno-fiction et proposer une lecture et une écriture qui peuvent nous guider dans notre réflexion sur l’avenir, sans peur ni enthousiasme, mais selon la notion de vacuité. Cet article est basé sur des communications délivrées à l’occasion de deux colloques internationaux organisés dans le cadre d’une collaboration entre deux équipes de chercheurs coréens et français, projet soutenu par le LABEX ARTS-H2H au titre du programme, Investissements d’avenir.

Initialement conçue comme une « psychothérapie brève » pour traiter la dépression majeure, la Psychothérapie interpersonnelle (PTI) a fait l’objet de nombreuses recherches et son efficacité a été étayée par les données empiriques. Peu connue dans notre pays, il s’agit d’une approche validée par la médecine fondée sur les preuves dans le champ de la périnatalité. D’autres études ont permis d’étendre l’utilisation de la PTI chez les adolescents, personnes âgées ou dans le trouble bipolaire. La PTI s’inspire de plusieurs théories comme la théorie de l’attachement ou la théorie de la communication, tout en soulignant les facteurs psychosociaux précipitant un épisode dépressif. Elle met l’accent sur le réseau social de soutien, vise à améliorer la communication et le fonctionnement interpersonnels. Elle figure dans de nombreuses recommandations de référence cliniques et son utilisation se répand dans plusieurs pays au-delà du contexte de la recherche. La pratique de la PTI amène le professionnel à poser son regard sur les interstices interpersonnels, tout en y bâtissant le changement en collaboration avec son client. Ce regard est différent mais éventuellement complémentaire à la compréhension de la détresse basée sur l’exploration « intra-psychique » ou sur l’exploration cognitivo-comportementale. Tout en étant très intuitive, la PTI est précise. Les outils qui en découlent pourraient avec efficacité féconder la pratique de divers professionnels de la périnatalité : les psychiatres mais également des sages-femmes, infirmières, puéricultrices, médecins généralistes, psychologues, pédiatres. Les mêmes outils peuvent permettre d’anticiper, et si possible d’éviter, certains effets délétères de pratiques. Au-delà du champ de la psychothérapie proprement dit, les outils de la PTI peuvent guider la formalisation des approches intuitives et salutaires des professionnels « non-psy », en rendant palpable les mécanismes de leurs effets psychiques bénéfiques, facilitant ainsi leur éventuelle transmission dans le cadre des formations.

<p>Este artículo presenta un estudio sobre la construcción de e-rúbricas para la autoevaluación. Las rúbricas, como instrumento de autoevaluación, permiten la reflexión, aportan al estudiante una mayor implicación en su aprendizaje y un mayor grado de conciencia de sus propios logros. En este caso, se logró la colaboración del estudiante desde el mismo momento del diseño y creación de la rúbrica a través de un proceso de construcción colaborativa donde participaron estudiantes y profesorado. La investigación1 se realizó con estudiantes del grado de Pedagogía de la Universidad de Granada que cursaron una materia optativa de tercer curso de la titulación. Se desarrolló en varias etapas sucesivas durante un cuatrimestre: la formación para el uso de rúbricas electrónicas, el diseño y construcción de las e-rúbricas, la utilización de las e-rúbricas elaboradas como instrumento de autoevaluación y la aplicación de un cuestionario a las estudiantes participantes para conocer sus opiniones y valoración sobre el uso de la e-rúbrica. Es importante considerar que cuando se evalúa con herramientas innovadoras es fundamental que los alumnos no sólo conozcan el instrumento, sino que se les forme e informe sobre el potencial e importancia que este tiene para la mejora de sus aprendizajes y, lo más importante, lo usen y lo incorporen a sus propias prácticas evaluadoras. Como resultado principal, las estudiantes destacaron la importancia de la rúbrica para guiar y reflexionar sobre su aprendizaje y su capacidad para predecir sus resultados en la asignatura.</p><p><strong>ABSTRACT</strong></p><p><strong>Building a collaborative e-rubric for educational self-assessment in degree of pedagogy.</strong></p><p>This paper is focused on the self-assessment trough e-rubrics. Rubrics as an instrument of self-assessment involve a process of reflection that can contribute to increase the involvement and awareness of their own achievements. Here we wanted to engage students from the design and creation of rubric through a collaborative process of building an e-rubric by the students and the teacher. In this study, undergraduate students of Pedagogy participated in an elective subject in their third year. It was developed in several stages in a semester: training for using e-rubrics, designing and construction of e-rubrics, using the e-rubric as a tool for self-assessment and filling a final questionnaire to collect their views. It’s important to consider that when we work with innovative strategies of assessment, students have to know not only the features of the instrument but also they have to know the influence to improve their learning processes and they have to achieve the ability to incorporate it to their own skills as education professionals. As main result, students highlighted the importance of rubrics to guide their learning processes and to reflect about it and the capacity of rubric to predict their performance in the subject.</p>

The concept of BIM implies a radical change in the way of facing the architectural design and the life cycle process of the projects and the buildings. It is an efficient and open system of communication and cooperation between the different operators involved in the construction process and, therefore, it becomes in a suitable tool for its implementation in the Technical Schools of Engineering and Architecture. This paper defends the recognition of the BIM methodology as a collaborative and coordinated instrument for its application in the university teaching in degrees of this field of knowledge, so that the flow of interdisciplinary information is efficient. The experience of the implementation of this methodology in the Degree in Building is described. It is based on a workshop-integrator model in the subject called Graphic Expression of Technologies. Subsequently, educational enquiries derived from the innovation developed are collected, showing its benefits for the student body as regards learning, and also the limitations found. In conclusion, the outcomes obtained lead to continue supporting this technological integration. Finally, a series of recommendations for its improvement are provided, concerning the way to guide the students throughout the experience, and also related to the teaching organisation through the curriculum.ResumenEl concepto de BIM implica un cambio radical en la manera de afrontar el diseño arquitectónico y el proceso de ciclo de vida de los proyectos y de los edificios. Se trata de un sistema eficiente y abierto de comunicación y cooperación entre los distintos operadores que intervienen en el proceso constructivo y, por tanto, resulta ser una herramienta idónea para su implantación en las Escuelas Técnicas de Ingeniería y Arquitectura. Este artículo defiende el reconocimiento de la metodología BIM como instrumento de trabajo colaborativo y coordinado para su aplicación en la docencia universitaria en titulaciones de esta rama de conocimiento, a fin de que el flujo de información interdisciplinar sea eficiente. Se describe la experiencia de la implantación de esta metodología en el Grado de Edificación, a través de un modelo de taller-integrador en la asignatura de Expresión Gráfica de Tecnologías. Posteriormente, se recogen averiguaciones docentes derivadas de la innovación desarrollada, mostrando sus beneficios para el estudiantado a nivel de aprendizaje y las limitaciones halladas. Con todo, los resultados obtenidos llevan a seguir apostando por esta integración tecnológica. Finalmente, para la mejora de esta innovación, se aportan una serie de recomendaciones en lo relativo a la manera de guiar al alumnado en la experiencia y relacionadas con la organización de las enseñanzas a través de sus planes de estudios.

RESUMOObjetivo: conhecer os principais aspectos relacionados às práticas educativas desenvolvidas por enfermeiros às gestantes na Atenção Primária à Saúde. Método: revisão integrativa, percorrendo seis etapas para sistematizar a pesquisa. Dados coletados nas bases de dados Lilacs, Medline, Biblioteca Virtual SciELO, nove artigos atenderam aos critérios de inclusão e os Descritores para nortear a pesquisa foram: Enfermagem; Educação em Saúde; Gravidez; Saúde da Mulher; Atenção Primária; Atividades Cotidianas. Resultados: o estudo identificou que as práticas educativas desenvolvidas por enfermeiros na Atenção Primária à Saúde estão relacionadas à educação em saúde com orientações à prevenção do autocuidado, cuidado adequado com o bebê, promoção da autonomia e empoderamento materno, comunicação interpessoal, capacitação da equipe e incentivo à participação de enfermeiros obstetras neste contexto. Conclusão: o estudo contribuiu para explicitação teórica dos elementos que compõem a relação enfermeiro/gestante a partir de práticas educativas. É relevante para desenvolvimento de estratégias que fortaleçam comunicação entre profissional e usuária por meio da escuta ativa, acolhimento humanizado, jogos e dinâmicas, incentivo à participação de familiares, acompanhantes e colaboração dos componentes da equipe multiprofissional. Descritores: Enfermagem; Educação em Saúde; Gravidez; Saúde da Mulher; Atenção Primária; Atividades Cotidianas.ABSTRACTObjective: to know the main aspects related to the educational practices developed by nurses to the pregnant women in Primary Health Care. Method: this is an integrative review, going through six stages to systematize the research. Data collected in the Lilacs, Medline, and SciELO Virtual Library databases. Nine articles met the inclusion criteria and the Descriptors to guide the research were: Nursing; Health education; Pregnancy; Women's Health; Primary care; Daily Activities. Results: the study identified that the educational practices developed by nurses in Primary Health Care are related to health education with guidelines to prevent self-care, adequate care with the baby, promotion of autonomy and maternal empowerment, interpersonal communication, the participation of obstetrical nurses in this context. Conclusion: the study contributed to the theoretical explanation of the elements that make up the nurses/pregnant relationship from educational practices. It is relevant for the development of strategies that strengthen communication between the professional and the patient through active listening, humanized acceptance, games, and dynamics, encouraging the participation of family members, partners and collaboration of the multi-professional team members. Descriptors: Nursing; Health Education; Pregnancy; Women's Health; Primary Health Care; Activities of Daily Living.RESUMENObjetivo: conocer los principales aspectos relacionados a las prácticas educativas desarrolladas por enfermeros a las gestantes en la Atención Primaria a la Salud. Método: revisión integradora, recurriendo seis etapas para sistematizar la investigación. Datos recogidos en las bases de datos Lilacs, Medline, Biblioteca Virtual SciELO, nueve artículos atendieron los criterios de inclusión y los Descriptores para guiar a la investigación fueron: Enfermería; Educación en Salud; Embarazo; Salud de la Mujer; Atención Primaria; Actividades Cotidianas. Resultados: el estudio identificó que las prácticas educativas desarrolladas por enfermeros en la Atención Primaria a la Salud están relacionadas a la educación en salud con orientaciones a la prevención del autocuidado, cuidado adecuado con el bebé, promoción de la autonomía y empoderamiento materno, comunicación interpersonal, capacitación del equipo e incentivo a la participación de enfermeros obstetras en este contexto. Conclusion: el estudio contribuyó para explicación teórica de los elementos que componen la relación enfermero/gestante a partir de prácticas educativas. Es relevante para desarrollo de estrategias que fortalezcan comunicación entre profesional y usuaria por medio de la escucha activa, acogida humanizada, juegos y dinámicas, incentivo a la participación de familiares, acompañantes y colaboración de los componentes del equipo multi-profesional. Descriptores: Enfermería; Educación en Salud; Embarazo; Salud de la Mujer; Atención Primaria de Salud; Actividades Cotidianas.

BackgroundIn SLE patients, episodes of high disease activity state (HDAS, SLEDAI-2K≥10) are associated with worse outcomes even if only experienced once. We investigated whether attainment of the lupus low disease activity state (LLDAS) was associated with protection against adverse outcomes in SLE patients after an episode of HDAS.ObjectivesTo compare LLDAS attainment between HDAS and non-HDAS patients.MethodsData on 4,106 SLE patients from a multinational cohort, collected prospectively between 2013 and 2020, were analysed. Disease activity was assessed using SLEDAI-2K. Patients who had SLEDAI-2K≥10 at least once were defined as HDAS patients. For the purpose of evaluating long term outcomes, each HDAS patient’s first visit with SLEDAI-2K≥10 was assigned as baseline, and for non-HDAS patients, recruitment was considered as baseline. Patients in LLDAS continuously for ≥6 months were defined as in sustained LLDAS (≥6months- and ≥12months-sustained LLDAS). Survival analyses were performed to examine the association between LLDAS attainment and damage accrual and flare.Results1076 patients (26%) had HDAS at least once (HDAS-ever). Compared to patients who never experienced HDAS (HDAS-never), HDAS-ever patients were younger, had shorter disease duration at enrolment, and a longer study follow-up period. HDAS-ever patients had higher disease activity across the observation period measured by time-adjusted mean SLEDAI-2K and PGA; higher PNL and IS use, more flares, organ damage, and damage accrual.None of the HDAS cohort and 42% of HDAS-never group were in LLDAS at baseline (HDAS-never/not LLDAS BL). 66% of HDAS-ever and 57% of ‘HDAS-never/not LLDAS BL’ patients attained LLDAS at least once during the study observation period. Proportions of patients in sustained LLDAS and who had cumulative LLDAS ≥ 50% of observed time (LLDAS-50) were lower in HDAS-ever patients (Table 1). LLDAS-50 attainment was protective from damage accrual and flare in both HDAS-ever and HDAS-never patients (Table 1). Sustained LLDAS was similarly protective from damage accrual and flare in both ‘HDAS-ever’ and ‘HDAS-never/not LLDAS BL’ groups (Table 1).Table 1.HDAS-never/not LLDAS BLn=1215n (%)HDAS-evern=1076n (%)Patients with organ damage accrual212 (18.8%)269 (27.5%)patients with flare613 (50.5%)894 (83.1%)LLDAS-ever (at least once)688 (56.6%)713 (66.4%)≥50% cumulative time in LLDAS (LLDAS-50)371 (33.1%)182 (18.6%)≥6-months in sustained LLDAS391 (32.2%)287 (26.7%)≥12-months in sustained LLDAS243 (20.0%)143 (13.3%)Longitudinal associations withHR (95% CI), p-valueHR (95% CI), p-valueOrgan damage accrualtLLDASt-10.54 (0.41,0.71), p<0.0010.49 (0.36,0.67), p<0.001LLDAS-50t-10.67 (0.49,0.90), p=0.0090.61 (0.38,0.98), p<0.04≥6m sustained LLDASt-10.68 (0.45,1.01), p=0.060.43 (0.26,0.73), p=0.002≥12m sustained LLDASt-10.54 (0.31,0.94), p=0.030.29 (0.11,0.74), p=0.01FlaretLLDASt-10.83 (0.71,0.97), p=0.0190.67 (0.59,0.77), p<0.001LLDAS-50t-10.84 (0.69,1.01), p=0.0590.59 (0.48,0.72), p<0.001≥6m sustained LLDASt-10.47 (0.37,0.60), p<0.0010.48 (0.38,0.60), p<0.001≥12m sustained LLDASt-10.41 (0.30,0.56), p<0.0010.29 (0.20,0.42).p<0.001ConclusionSustained or majority LLDAS was less achievable in SLE patients after an episode of HDAS in HDAS-ever compared to HDAS-never patients, but protective associations of LLDAS against organ damage accrual and flare were similar regardless of HDAS. LLDAS attainment is protective from adverse outcomes even after high disease activity.AcknowledgementsWe thank all patients participating in the Asia Pacific Lupus Collaboration (APLC) cohort, and all data collectors for their ongoing support for APLC research activities.The APLC has received unrestricted project grants from AstraZeneca, BMS, Eli Lily, Janssen, Merck Serono, and UCB to support data collection contributing to this work.Disclosure of InterestsRangi Kandane-Rathnayake: None declared, Vera Golder: None declared, Worawit Louthrenoo: None declared, Yi-Hsing Chen Speakers bureau: Pfizer, Novartis, Abbvie, Johnson & Johnson, BMS, Roche, Lilly, GSK, Astra & Zeneca, Sanofi, MSD, Guigai, Astellas Inova Diagnostics, UCB Agnitio Science Technology, United Biopharma, Thermo Fisher, Consultant of: Pfizer, Novartis, Abbvie, Johnson & Johnson, BMS, Roche, Lilly, GSK, Astra and Zeneca, Sanofi, Guigai, Astellas, Inova Diagnostics, UCB, Agnitio Science Technology, United Biopharma, Thermo Fisher, Gilead, Grant/research support from: Pfizer, Norvatis, BMS, Abbevie, Johnson & Johnson, Roche,Sanofi, Guigai, Roche, Boehringer Ingelheim, UCB, MSD, Astra-Zeneca,Astellas, Gilead, Jiacai Cho: None declared, Aisha Lateef: None declared, Laniyati Hamijoyo Speakers bureau: from Pfizer, Novartis, Abbot, Shue Fen Luo: None declared, Yeong-Jian Jan Wu Speakers bureau: Pfizer, Lilly, Novartis, Abbvie, Sandra Navarra Speakers bureau: Pfizer, Johnson & Johnson, Novartis, Astellas, Grant/research support from: Astellas, Johnson & Johnson, Leonid Zamora: None declared, Zhanguo Li Speakers bureau: Eli Lilly, Novartis, GSK, AbbVie., Paid instructor for: Pfizer, Roche, Johnson, Consultant of: Eli Lilly, Pfizer, Grant/research support from: Pfizer, Yuan An: None declared, Sargunan Sockalingam Speakers bureau: Pfizer, Roche, Novartis, Grant/research support from: Roche and Novartis, Yasuhiro Katsumata Speakers bureau: YK has received honoraria from Chugai Pharmaceutical Co., Ltd., Glaxo-Smithkline K.K., and Sanofi K.K., Masayoshi Harigai Speakers bureau: MH has received speaker’s fee from AbbVie Japan GK, Ayumi Pharmaceutical Co., Boehringer Ingelheim Japan, Inc.,Bristol Myers Squibb Co., Ltd., Chugai Pharmaceutical Co., Ltd., Eisai Co., Ltd., Eli Lilly Japan K.K., GlaxoSmithKline K.K., Kissei Pharmaceutical Co., Ltd., Pfizer Japan Inc., Takeda Pharmaceutical Co., Ltd., and Teijin Pharma Ltd., Consultant of: MH is a consultant for AbbVie, Boehringer-ingelheim, Bristol Myers Squibb Co., Kissei Pharmaceutical Co.,Ltd. and Teijin Pharma., Grant/research support from: MH has received research grants from AbbVie Japan GK, Asahi Kasei Corp., Astellas Pharma Inc., Ayumi Pharmaceutical Co., Bristol Myers Squibb Co., Ltd., Chugai Pharmaceutical Co., Daiichi-Sankyo, Inc.,Eisai Co., Ltd., Kissei Pharmaceutical Co., Ltd., Mitsubishi Tanabe Pharma Co., Nippon Kayaku Co., Ltd., Sekiui Medical, Shionogi & Co., Ltd., Taisho Pharmaceutical Co., Ltd., Takeda Pharmaceutical Co., Ltd., and Teijin Pharma Ltd., Yanjie Hao: None declared, Zhuoli Zhang Speakers bureau: Norvatis, GSK, Pfizer, BMDB Basnayake: None declared, Madelynn Chan Speakers bureau: AbbVie, Novartis, Consultant of: Advisory Board member for Pfizer, Eli-Lilly, Jun Kikuchi: None declared, Tsutomu Takeuchi Speakers bureau: AbbVie AYUMI Pharmaceutical Corp. Bristol-Myers Squibb Chugai Pharmaceutical Co, Ltd. Daiichi Sankyo Co., Ltd. Eisai Co., Ltd. Eli Lilly Japan, Gilead Sciences, Inc. Mitsubishi-Tanabe Pharma Corp. Pfizer Japan Inc. Sanofi K.K., Consultant of: Astellas Pharma, Inc. Chugai Pharmaceutical Co, Ltd. Eli Lilly Japan, Mitsubishi-Tanabe Pharma Corp., Grant/research support from: AbbVie Asahikasei Pharma Corp. Chugai Pharmaceutical Co, Ltd. Mitsubishi-Tanabe Pharma Corp. Sanofi K.K., Sang-Cheol Bae: None declared, Shereen Oon: None declared, Sean O’Neill Consultant of: GSK, Fiona Goldblatt: None declared, Kathryn Gibson Speakers bureau: UCB, Consultant of: Novartis, Janssen Pharmaceuticals, Grant/research support from: Novartis, Employee of: Eli Lilly, Kristine Ng Speakers bureau: Abbvie, Novartis, Janssen, Annie Law: None declared, Nicola Tugnet: None declared, Sunil Kumar: None declared, Cherica Tee: None declared, Michael Tee: None declared, Yoshiya Tanaka Speakers bureau: Y. Tanaka has received speaking fees and/or honoraria from Daiichi-Sankyo, Eli Lilly, Novartis, YL Biologics, Bristol-Myers, Eisai, Chugai, Abbvie, Astellas, Pfizer, Sanofi, Asahi-kasei, GSK, Mitsubishi-Tanabe, Gilead, Janssen, Grant/research support from: Y. Tanaka, has received research grants from Abbvie, Mitsubishi-Tanabe, Chugai, Asahi-Kasei, Eisai, Takeda, Daiichi-Sankyo., C.S. Lau Shareholder of: Pfizer, Sanofi, and Janssen, Mandana Nikpour Speakers bureau: Actelion, GSK, Janssen, Pfizer, UCB, Paid instructor for: UCB, Consultant of: Actelion, Boehringer Ingelheim, Certa Therapeutics, Eli Lilly, GSK, Janssen, Pfizer, UCB, Grant/research support from: Actelion, Astra Zeneca, BMS, GSK, Janssen, UCB, Eric F. Morand Speakers bureau: AstraZeneca, Paid instructor for: Eli Lilly, Consultant of: AstraZeneca, Amgen, Biogen, BristolMyersSquibb, Eli Lilly, EMD Serono, Genentech, Janssen, Grant/research support from: AstraZeneca, BristolMyersSquibb, Eli Lilly, EMD Serono, Janssen, Alberta Hoi Consultant of: AH is on the advisory board for Abbvie and GSK, Grant/research support from: AH has received research support from AstraZeneca, GSK, BMS, Janssen, and Merck Serono.

Background:In the absence of evidence-based treatment guidelines, medication use in SLE is highly variable. Low rates of remission and lupus low disease activity state (LLDAS) suggest that suboptimal responses to standard medications, which include glucocorticoids (GC), anti-malarial (AM) drugs and immunosuppressive (IS) agents, are common. Understanding the utility of current medications will facilitate the selection of patients for advanced therapies as they emerge.Objectives:To examine medication use patterns in a large multicentre SLE cohort.Methods:We used 2013-18 data from the Asia Pacific Lupus Collaboration (APLC) cohort in which disease activity (SLEDAI-2K) and medication details were captured at every visit. LLDAS was defined as in Golderet al., 2019 (1). We examined the use of medication (med) categories (GC &/or AM &/or IS) by SLE disease activity and LLDAS at the visit level. Additionally, we performed Cox regression analyses to determine the time-to-discontinuation of meds stratified by SLE disease activity, ranked by time-adjusted mean SLEDAI-2K, and by percent-time spent in LLDAS.Results:We analysed data from 19,804 visits of 2,860 patients. We observed 8 med categories: no meds; GC, AM or IS only; GC+AM; GC+IS; AM+IS and GC+AM+IS (triple therapy). Triple therapy was the most frequent med pattern (32%); single agents were used in 21% of visits and biologicals in only 3%. Among visits where SLEDAI-2K was ≥10, triple therapy was used in 46%, with median [IQR] GC dose 10 [6, 24] mg/day; in contrast, among visits with SLEDAI-2K≤4 triple therapy was used in 28% (p<0.01). Patients in LLDAS received less combination therapy than those who were not in LLDAS.Med persistence (survival analysis) varied widely, with lowest survivals for IS. Patients with time-adjusted mean SLEDAI-2K ≥10 had lower discontinuation of GC and higher discontinuation of IS including azathioprine, leflunomide and cyclosporine (Table 1). In contrast, increased time in LLDAS was associated with reduced discontinuation of AM and azathioprine.GCAMISMPhMPhAAZAMTXCyALEFOverall med survival, days to 25% discontinuation (95%CI)1048(938, 1197)1267(1113, 1428)175(175, 182)387(252, 756)409(350, 476)525(219, 686)268(182, 350)329(190, 524)Univariable associations,HR (95% CI) p-valueDisease activity≤41.001.001.001.001.001.001.001.00>4 & <100.69 (0.56,0.84)p<0.0011.15 (0.92,1.44)0.20.92 (0.80,1.05)0.21.37 (0.78,2.42)0.31.16 (0.97,1.39)0.111.11 (0.72,1.71)0.61.26 (0.90,1.77) 0.181.88 (1.07,3.30) 0.03≥100.65 (0.35,1.21) 0.181.56 (0.94,2.59) 0.080.84 (0.45,1.57)0.61.92 (0.80,4.63)0.142.69 (1.86,3.91) p<0.0011.85 (0.92,3.71) 0.082.66 (1.36,5.21) 0.0041.62 (1.13,2.32)0.009LLDAS<50%1.001.001.001.001.001.001.001.00≥50%1.30 (1.09, 1.55)0.0030.67 (0.54, 0.84)<0.0011.22 (1.08, 1.40)0.0020.83 (0.44,1.57)0.60.83 (0.69, 1.00)0.0540.70 (0.46, 1.07)0.101.29 (0.92, 1.83)0.140.43 (1.5, 1.25)0.12Conclusion:In a large multicentre SLE cohort, most patients were receiving combination treatment. AM treatment survival was high and associated with low disease activity, GC survival was high and associated with high disease activity, while IS survival was low. Patients with high disease activity received more medication combinations but had reduced IS survival. These data suggest ongoing unmet need for improved medications for treatment of SLE.Reference:Golder, V., et al Lancet Rheum. 2019 1(2):e95-102Disclosure of Interests:Rangi Kandane-Rathnayake Grant/research support from: The APLC has received financial (non-restricted educational) grants from AstraZeneca, Bristol Myers Squibb, GlaxoSmithKline, Janssen, EMD Serono, Eli Lilly and UCB for the LLDAS Validation Study., Worawit Louthrenoo: None declared, Shue Fen Luo: None declared, Yeong-Jian Wu Consultant of: Pfizer, Lilly, Novartis, Abbvie, Roche, Speakers bureau: Lilly, Novartis, Yi-Hsing Chen Grant/research support from: Taiwan Ministry of Science and Technology, Taiwan Department of Health, Taichung Veterans General Hospital, National Yang-Ming University, GSK, Pfizer, BMS., Consultant of: Pfizer, Novartis, Abbvie, Johnson & Johnson, BMS, Roche, Lilly, GSK, Astra& Zeneca, Sanofi, MSD, Guigai, Astellas, Inova Diagnostics, UCB, Agnitio Science Technology, United Biopharma, Thermo Fisher, Gilead., Paid instructor for: Pfizer, Novartis, Johnson & Johnson, Roche, Lilly, Astra& Zeneca, Sanofi, Astellas, Agnitio Science Technology, United Biopharma., Speakers bureau: Pfizer, Novartis, Abbvie, Johnson & Johnson, BMS, Roche, Lilly, GSK, Astra& Zeneca, Sanofi, MSD, Guigai, Astellas, Inova Diagnostics, UCB, Agnitio Science Technology, United Biopharma, Thermo Fisher, Gilead., Vera Golder: None declared, Aisha Lateef: None declared, Jiacai Cho: None declared, Sandra Navarra Speakers bureau: Astellas, Novartis, Pfizer, Johnson & Johnson, Abbvie, Leonid Zamora: None declared, Laniyati Hamijoyo Speakers bureau: Pfizer, Novartis, Tanabe, Abbot, Dexa Medica, Roche, Sargunan Sockalingam: None declared, Yuan An: None declared, Zhanguo Li: None declared, Yasuhiro Katsumata: None declared, masayoshi harigai Grant/research support from: AbbVie Japan GK, Ayumi Pharmaceutical Co., Bristol Myers Squibb Co., Ltd., Eisai Co., Ltd., Mitsubishi Tanabe Pharma Co., Nippon Kayaku Co., Ltd., and Teijin Pharma Ltd. MH has received speaker’s fee from AbbVie Japan GK, Ayumi Pharmaceutical Co., Boehringer Ingelheim Japan, Inc., Bristol Myers Squibb Co., Ltd., Chugai Pharmaceutical Co., Ltd., Eisai Co., Ltd., Eli Lilly Japan K.K., GlaxoSmithKline K.K., Kissei Pharmaceutical Co., Ltd., Oxford Immuotec, Pfizer Japan Inc., and Teijin Pharma Ltd. MH is a consultant for AbbVie, Boehringer-ingelheim, Kissei Pharmaceutical Co., Ltd. and Teijin Pharma., Yanjie Hao: None declared, Zhuoli Zhang: None declared, Madelynn Chan: None declared, Jun Kikuchi: None declared, Tsutomu Takeuchi Grant/research support from: Eisai Co., Ltd, Astellas Pharma Inc., AbbVie GK, Asahi Kasei Pharma Corporation, Nippon Kayaku Co., Ltd, Takeda Pharmaceutical Company Ltd, UCB Pharma, Shionogi & Co., Ltd., Mitsubishi-Tanabe Pharma Corp., Daiichi Sankyo Co., Ltd., Chugai Pharmaceutical Co. Ltd., Consultant of: Chugai Pharmaceutical Co Ltd, Astellas Pharma Inc., Eli Lilly Japan KK, Speakers bureau: AbbVie GK, Eisai Co., Ltd, Mitsubishi-Tanabe Pharma Corporation, Chugai Pharmaceutical Co Ltd, Bristol-Myers Squibb Company, AYUMI Pharmaceutical Corp., Eisai Co., Ltd, Daiichi Sankyo Co., Ltd., Gilead Sciences, Inc., Novartis Pharma K.K., Pfizer Japan Inc., Sanofi K.K., Dainippon Sumitomo Co., Ltd., Fiona Goldblatt: None declared, Sean O’Neill: None declared, Chetan Karyekar Shareholder of: Johnson & Johnson, Consultant of: Janssen, Employee of: Janssen Global Services, LLC. Previously, Novartis, Bristol-Myers Squibb, and Abbott Labs., Jennifer H. Lofland Employee of: Janssen, Sang-Cheol Bae: None declared, Chak Sing Lau: None declared, Alberta Hoi: None declared, Mandana Nikpour: None declared, Eric F. Morand Grant/research support from: AstraZeneca, Consultant of: AstraZeneca, Speakers bureau: AstraZeneca

Distance learning at the pre-school level requires evaluation action considering that this form of learning is a new process for most elements of education in early childhood education. The purpose of this study is to evaluate virtual learning, namely planning, implementation, and assessment, as well as revealing the obstacles that occur in online learning in Kendari City Kindergarten. This study uses descriptive quantitative research methods with data collection techniques through surveys. The results showed that planning for online learning had been carried out by coordinating between teachers and parents, as well as drafting a learning plan from home starting from standard learning operations, semester programs, weekly and daily lesson plans. The implementation of learning uses several facilities, including WhatsApp application (62.50%), Zoom meeting application (12.50%), learning videos (12.50%), Google Meet (6.25%), and YouTube (6.25%). Children's learning methods currently include giving assignments (32.26%), performance (25.81%), demonstrations (22.58%) and experiments (19.35%). While the media used are video, picture media and children's worksheets. The assessment used by the teacher is in the form of portfolio assessment (50%), performance (30%) and observation (20%). The obstacles faced by teachers during distance learning are the lack of cooperation from parents when accompanying children to study at home, parents who are often late in collecting their children's assignments (portfolios), and the lack of smart phone facilities owned by parents. In response to this, good communication and collaboration between teachers and parents are needed, and parents must be able to pay attention and motivate children during the distance learning process, especially in the new pandemic era. Keywords: pre-school, distance learning, ECE evaluationReferences: Ariswari, N. K. R., & Tirtayani, L. A. (2021). Survei Kesiapan Orang Tua dalam Mendampingi Proses Pembelajaran Anak Usia Dini Berbasis Daring [Survey on Parental Readiness in Assisting the Online-Based Early Childhood Learning Process]. 5(1), 10. Atiles, J. T., Almodóvar, M., Chavarría Vargas, A., Dias, M. J. A., & Zúñiga León, I. M. (2021). International responses to COVID-19: Challenges faced by early childhood professionals. European Early Childhood Education Research Journal, 29(1), 66–78. https://doi.org/10.1080/1350293X.2021.1872674 Bassok, D., Michie, M., Cubides-Mateus, D. M., Doromal, J. B., & Kiscaden, S. (2020). The Divergent Experiences of Early Educators in Schools and Child Care Centers during COVID-19: Findings from Virginia. 28. Beckerman, M., van Berkel, S. R., Mesman, J., & Alink, L. R. A. (2017). The role of negative parental attributions in the associations between daily stressors, maltreatment history, and harsh and abusive discipline. Child Abuse & Neglect, 64, 109–116. https://doi.org/10.1016/j.chiabu.2016.12.015 Bigras, N., Lemay, L., Lehrer, J., Charron, A., Duval, S., Robert-Mazaye, C., & Laurin, et I. (2021). Early Childhood Educators’ Perceptions of Their Emotional State, Relationships with Parents, Challenges, and Opportunities During the Early Stage of the Pandemic. Early Childhood Education Journal, 49(5), 775–787. https://doi.org/10.1007/s10643-021-01224-y Bilbokaitė-Skiauterienė, I., & Bilbokaitė, R. (2021). Opportunities of Organizing and Implementing Distance Learning: The Context of Lithuanian Pre-School Teachers’ Opinions. 10115–10122. https://doi.org/10.21125/edulearn.2021.2085 Brown, S. M., Doom, J. R., Lechuga-Peña, S., Watamura, S. E., & Koppels, T. (2020). Stress and parenting during the global COVID-19 pandemic. Child Abuse & Neglect, 110, 104699. https://doi.org/10.1016/j.chiabu.2020.104699 Creswell, J. W. (2015). Educational research: Planning, conducting, and evaluating quantitative and qualitative research (Fifth edition). Pearson. Darling-Hammond, L., Schachner, A., & Edgerton, A. K. (2020). Restarting and Reinventing School: Learning in the Time of COVID and Beyond. 126. Dong, C., Cao, S., & Li, H. (2020). Young children’s online learning during COVID-19 pandemic: Chinese parents’ beliefs and attitudes. Children and Youth Services Review, 118, 105440. https://doi.org/10.1016/j.childyouth.2020.105440 Ford, T. G., Kwon, K.-A., & Tsotsoros, J. D. (2021). Early childhood distance learning in the U.S. during the COVID pandemic: Challenges and opportunities. Children and Youth Services Review, 131, 106297. https://doi.org/10.1016/j.childyouth.2021.106297 Guilar, J. D., & Loring, A. (2008). Dialogue and Community in Online Learning: Lessons from Royal Roads University. 22. Lau, E. Y. H., & Lee, K. (2020). Parents’ Views on Young Children’s Distance Learning and Screen Time During COVID-19 Class Suspensio. Early Education and Development, 19. https://doi.org/10.1080/10409289.2020.1843925 Ma, X., Shen, J., Krenn, H. Y., Hu, S., & Yuan, J. (2016). A Meta-Analysis of the Relationship Between Learning Outcomes and Parental Involvement During Early Childhood Education and Early Elementary Education. Educational Psychology Review, 28(4), 771–801. https://doi.org/10.1007/s10648-015-9351-1 Malta Campos, M., & Vieira, L. F. (2021). COVID-19 and early childhood in Brazil: Impacts on children’s well-being, education, and care. European Early Childhood Education Research Journal, 29(1), 125–140. https://doi.org/10.1080/1350293X.2021.1872671 Mark Nichols. (2003). A theory for eLearning. Journal of Educational Technology & Society, 6(2), 1–10. JSTOR. McKenna, M., Soto-Boykin, X., Cheng, K., Haynes, E., Osorio, A., & Altshuler, J. (2021). Initial Development of a National Survey on Remote Learning in Early Childhood During COVID-19: Establishing Content Validity and Reporting Successes and Barriers. Early Childhood Education Journal, 49(5), 815–827. https://doi.org/10.1007/s10643-021-01216-y Prime, H., Wade, M., & Browne, D. T. (2020). Risk and resilience in family well-being during the COVID-19 pandemic. American Psychologist, 75(5), 631–643. https://doi.org/10.1037/amp0000660 Reich, J., Buttimer, C. J., Fang, A., Hillaire, G., Hirsch, K., Larke, L. R., Littenberg-Tobias, J., Moussapour, R. M., Napier, A., Thompson, M., & Slama, R. (2020). Remote Learning Guidance from State Education Agencies During the COVID-19 Pandemic: A First Look [Preprint]. EdArXiv. https://doi.org/10.35542/osf.io/437e2 Russell, B. S., Hutchison, M., Tambling, R., Tomkunas, A. J., & Horton, A. L. (2020). Initial Challenges of Caregiving During COVID-19: Caregiver Burden, Mental Health, and the Parent–Child Relationship. Child Psychiatry & Human Development, 51(5), 671–682. https://doi.org/10.1007/s10578-020-01037-x Safi, F., Wenzel, T., & Spalding, L.-A. T. (2020). Remote Learning Community: Supporting Teacher Educators During Unprecedented Times. Journal of Technology and Teacher Education, 28(2), 211–222. Spinelli, M., Lionetti, F., Pastore, M., & Fasolo, M. (2020). Parents’ Stress and Children’s Psychological Problems in Families Facing the COVID-19 Outbreak in Italy. Frontiers in Psychology, 11, 1713. https://doi.org/10.3389/fpsyg.2020.01713 Szente, J. (2020). Live Virtual Sessions with Toddlers and Preschoolers Amid COVID-19: Implications for Early Childhood Teacher Education. Journal of Technology and Teacher Education, 28(2), 373–380. Tao, S. S., Lau, E. Y. H., & Yiu, H. M. (2019). Parental Involvement After the Transition to School: Are Parents’ Expectations Matched by Experience? Journal of Research in Childhood Education, 33(4), 637–653. https://doi.org/10.1080/02568543.2019.1653409

Recently, Shulha, Whitmore, Cousins, Gilbert, and al Hudib (2015) proposed a set of evidence-based principles to guide collaboration. Our research undertakes a case study approach to explore these principles in a developmental evaluation context. Data were collected at two points in an 18-month period where an evaluation group collaborated with the program team from a national organization. This article explores the contributions of selected collaborative approaches to evaluation principles as they are applied in a developmental evaluation. The article concludes with a reflection on the implications for collaboration in theory and practice of developmental contexts. Also identified are the practical insights for implementing the principles in evaluation practice.Récemment, Shulha, Whitmore, Cousins, Gilbert et al Hudib (2015) ont proposé un ensemble de principes pour guider les pratiques collaboratives. Par une étude de cas nous explorons ces principes dans un contexte d’évaluation développementale. Des données ont été recueillies à deux moments au cours d’une période de 18 mois, lors d’une collaboration entre un groupe d’évaluateurs et l’équipe d’un programme d’une organisation nationale. L’article explore les contributions de certaines approches collaboratives au respect de ces principes dans le cadre de l’évaluation développementale. L’article propose une réflexion sur les implications théoriques et pratiques de la collaboration dans ces contextes. Nous identifions également des moyens pour implanter ces principes dans la pratique évaluative.

Resumen La inteligencia colectiva ha permitido resolver más problemas a nivel de grupo que si lo hicieran de manera individual, esta afirmación conlleva a que los estudiantes y profesores dejan de ser actores pasivos para convertirse en actores activos, las técnicas de filtro colaborativo permiten inferir recomendaciones y estrategias para la generación de conocimiento colectivo. Este conocimiento colectivo tiene dos premisas, la primera es que el conocimiento colectivo se da entre dos o más personas y segundo que exista interacciones entre ellas, aunado a estas dos premisas la web provee un espacio fascinante que cumplen con las condiciones anteriores y además genera espacios de participación y colaboración, lo que posibilita la construcción de redes de tipo colaborativo, de esta manera se tiene la red como plataforma y el software como un servicio, un sistema de recomendación permite guiar al usuario en la obtención de información de acuerdo a las preferencias, de allí que se puedan obtener patrones y recomendaciones sobre un tema específico. Palabras Clave: Plataforma Colaborativa, Educación, Sistemas Colaborativos, Motor de Sugerencias, Ecosistemas Digitales. Abstract Collective intelligence has solved more problems at group level if they did individually, this statement entails those students and teachers are no longer passive actors to become active participants, collaborative filtering techniques to infer recommendations and strategies for the generation of collective knowledge. This collective knowledge has two premises, the first is that the collective knowledge exists between two or more people and second that there is interaction between them, these two premises together with the web provides a fascinating space that meet the above conditions and generates spaces of participation and collaboration, enabling the construction of a collaborative network, so you have the network as platform and software as a service, a recommendation system can guide the user in obtaining information according to the preferences, from there you can get patterns and recommendations on a specific topic. Keywords: Collaborative Platform, Education, Collaborative Systems, Engine Tips, Digital Ecosystems.

Il y a plus de 200 000 élèves HDAA au Québec. Par conséquent, plus de 200 000 plans d’intervention (PI) ont été élaborés, mis en oeuvre et révisés au Québec. Or, l’élaboration, la mise en oeuvre et la révision d’un PI sont des pratiques encore loin d’être optimales et représentent différents coûts significatifs en éducation; des coûts pédagogiques, de développement, d’acquisition, d’utilisation, de collaboration et de formation. Cela étant dit, il appert essentiel d’examiner ce que les recherches antérieures disent pour informer et guider les pratiques et les futures recherches. Cet article présente une recension des écrits permettant de dresser un portrait du passé pour enfin proposer des pistes de recherches futures et guider les pratiques actuelles.

'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as jargon-filled cyber-crit hyperbole. Cyber-crit has always been at its best too when it invents pre-histories and finds hidden connections between different phenomena (like the work of Greil Marcus and early Mark Dery), and not when it is closer to Chinese Water Torture, name-checking the canon's icons (the 'Deleuze/Guattari' tag-team), texts and key terms. "The organization of sound is interpreted historically, politically, socially ... . It subdues music's ambition, reins it in, restores it to its proper place, reconciles it to its naturally belated fate", comments imagineer Kodwo Eshun (4) on how cyber-crit destroys albums and the innocence of the listening experience. This is how official histories are constructed a priori and freeze-dried according to personal tastes and prior memes: sometimes the most interesting experiments are Darwinian dead-ends that fail to make the canon, or don't register on the radar. Anyone approaching The Fragile must also contend with the music industry's harsh realities. For every 10 000 Goth fans who moshed to the primal 'kill-fuck-dance' rhythms of the hit single "Closer" (heeding its siren-call to fulfil basic physiological needs and build niche-space), maybe 20 noted that the same riff returned with a darker edge in the title track to The Downward Spiral, undermining the glorification of Indulgent hedonism. "The problem with such alternative audiences," notes Disinformation Creative Director Richard Metzger, "is that they are trying to be different -- just like everyone else." According to author Don Webb, "some mature Chaos and Black Magicians reject their earlier Nine Inch Nails-inspired Goth beginnings and are extremely critical towards new adopters because they are uncomfortable with the subculture's growing popularity, which threatens to taint their meticulously constructed 'mysterious' worlds. But by doing so, they are also rejecting their symbolic imprinting and some powerful Keys to unlocking their personal history." It is also difficult to separate Nine Inch Nails from the commercialisation and colossal money-making machine that inevitably ensued on the MTV tour circuit: do we blame Michael Trent Reznor because most of his audience are unlikely to be familiar with 'first-wave' industrial bands including Cabaret Voltaire and the experiments of Genesis P. Orridge in Throbbing Gristle? Do we accuse Reznor of being a plagiarist just because he wears some of his influences -- Dr. Dre, Daft Punk, Atari Teenage Riot, Pink Floyd's The Wall (1979), Tom Waits's Bone Machine (1992), David Bowie's Low (1977) -- on his sleeve? And do we accept no-brain rock critic album reviews who quote lines like 'All the pieces didn't fit/Though I really didn't give a shit' ("Where Is Everybody?") or 'And when I suck you off/Not a drop will go to waste' ("Starfuckers Inc") as representative of his true personality? Reznor evidently has his own thoughts on this subject, but we should let the music speak for itself. The album's epic production and technical complexity turned into a post-modern studio Vision Quest, assisted by producer Alan Moulder, eleventh-hour saviour Bob Ezrin (brought in by Reznor to 'block-out' conceptual and sonic continuity), and a group of assault-technicians. The fruit of these collaborations is an album where Reznor is playing with our organism's time-binding sense, modulating strange emotions through deeply embedded tonal angularities. During his five-year absence, Trent Reznor fought diverse forms of repetitious trauma, from endogenous depression caused by endless touring to the death of his beloved grandmother (who raised him throughout childhood). An end signals a new beginning, a spiral is an open-ended and ever-shifting structure, and so Reznor sought to re-discover the Elder Gods within, a shamanic approach to renewal and secular salvation utilised most effectively by music PR luminary and scientist Howard Bloom. Concerned with healing the human animal through Ordeals that hard-wire the physiological baselines of Love, Hate and Fear, Reznor also focusses on what happens when 'meaning-making' collapses and hope for the future cannot easily be found. He accurately captures the confusion that such dissolution of meaning and decline of social institutions brings to the world -- Francis Fukuyama calls this bifurcation 'The Great Disruption'. For a generation who experienced their late childhood and early adolescence in Reagan's America, Reznor and his influences (Marilyn Manson and Filter) capture the Dark Side of recent history, unleashed at Altamont and mutating into the Apocalyptic style of American politics (evident in the 'Star Wars'/SDI fascination). The personal 'psychotic core' that was crystallised by the collapse of the nuclear family unit and supportive social institutions has returned to haunt us with dystopian fantasies that are played out across Internet streaming media and visceral MTV film-clips. That such cathartic releases are useful -- and even necessary (to those whose lives have been formed by socio-economic 'life conditions') is a point that escapes critics like Roger Scruton, some Christian Evangelists and the New Right. The 'escapist' quality of early 1980s 'Rapture' and 'Cosmocide' (Hal Lindsey) prophecies has yielded strange fruit for the Children of Ezekiel, whom Reznor and Marilyn Manson are unofficial spokes-persons for. From a macro perspective, Reznor's post-human evolutionary nexus lies, like J.G. Ballard's tales, in a mythical near-future built upon past memory-shards. It is the kind of worldview that fuses organic and morphogenetic structures with industrial machines run amok, thus The Fragile is an artefact that captures the subjective contents of the different mind produced by different times. Sonic events are in-synch but out of phase. Samples subtly trigger and then scramble kinaesthetic-visceral and kinaesthetic-tactile memories, suggestive of dissociated affective states or body memories that are incapable of being retrieved (van der Kolk 294). Perhaps this is why after a Century of Identity Confusion some fans find it impossible to listen to a 102-minute album in one sitting. No wonder then that the double album is divided into 'left' and 'right' discs (a reference to split-brain research?). The real-time track-by-track interpretation below is necessarily subjective, and is intended to serve as a provisional listener's guide to the aural ur-text of 1999. The Fragile is full of encrypted tones and garbled frequencies that capture a world where the future is always bleeding into a non-recoverable past. Turbulent wave-forms fight for the listener's attention with prolonged static lulls. This does not make for comfortable or even 'nice' listening. The music's mind is a snapshot, a critical indicator, of the deep structures brewing within the Weltanschauung that could erupt at any moment. "Somewhat Damaged" opens the album's 'Left' disc with an oscillating acoustic strum that anchor's the listener's attention. Offset by pulsing beats and mallet percussion, Reznor builds up sound layers that contrast with lyrical epitaphs like 'Everything that swore it wouldn't change is different now'. Icarus iconography is invoked, but perhaps a more fitting mythopoeic symbol of the journey that lies ahead would be Nietzsche's pursuit of his Ariadne through the labyrinth of life, during which the hero is steadily consumed by his numbing psychosis. Reznor fittingly comments: 'Didn't quite/Fell Apart/Where were you?' If we consider that Reznor has been repeating the same cycle with different variations throughout all of his music to date, retro-fitting each new album into a seamless tapestry, then this track signals that he has begun to finally climb out of self-imposed exile in the Underworld. "The Day the World Went Away" has a tremendously eerie opening, with plucked mandolin effects entering at 0:40. The main slashing guitar riff was interpreted by some critics as Reznor's attempt to parody himself. For some reason, the eerie backdrop and fragmented acoustic guitar strums recalls to my mind civil defence nuclear war films. Reznor, like William S. Burroughs, has some powerful obsessions. The track builds up in intensity, with a 'Chorus of the Damned' singing 'na na nah' over apocalyptic end-times imagery. At 4:22 the track ends with an echo that loops and repeats. "The Frail" signals a shift to mournful introspectiveness with piano: a soundtrack to faded 8 mm films and dying memories. The piano builds up slowly with background echo, holds and segues into ... "The Wretched", beginning with a savage downbeat that recalls earlier material from Pretty Hate Machine. 'The Far Aways/Forget It' intones Reznor -- it's becoming clear that despite some claims to the contrary, there is redemption in this album, but it is one borne out of a relentless move forward, a strive-drive. 'You're finally free/You could be' suggest Reznor studied Existentialism during his psychotherapy visits. This song contains perhaps the ultimate post-relationship line: 'It didn't turn out the way you wanted it to, did it?' It's over, just not the way you wanted; you can always leave the partner you're with, but the ones you have already left will always stain your memories. The lines 'Back at the beginning/Sinking/Spinning' recall the claustrophobic trapped world and 'eternal Now' dislocation of Post-Traumatic Stress Disorder victims. At 3:44 a plucked cello riff, filtered, segues into a sludge buzz-saw guitar solo. At 5:18 the cello riff loops and repeats. "We're in This Together Now" uses static as percussion, highlighting the influence of electricity flows instead of traditional rock instrument configurations. At 0:34 vocals enter, at 1:15 Reznor wails 'I'm impossible', showing he is the heir to Roger Waters's self-reflective rock-star angst. 'Until the very end of me, until the very end of you' reverts the traditional marriage vow, whilst 'You're the Queen and I'm the King' quotes David Bowie's "Heroes". Unlike earlier tracks like "Reptile", this track is far more positive about relationships, which have previously resembled toxic-dyads. Reznor signals a delta surge (breaking through barriers at any cost), despite a time-line morphing between present-past-future. At 5:30 synths and piano signal a shift, at 5:49 the outgoing piano riff begins. The film-clip is filled with redemptive water imagery. The soundtrack gradually gets more murky and at 7:05 a subterranean note signals closure. "The Fragile" is even more hopeful and life-affirming (some may even interpret it as devotional), but this love -- representative of the End-Times, alludes to the 'Glamour of Evil' (Nico) in the line 'Fragile/She doesn't see her beauty'. The fusion of synths and atonal guitars beginning at 2:13 summons forth film-clip imagery -- mazes, pageants, bald eagles, found sounds, cloaked figures, ruined statues, enveloping darkness. "Just like You Imagined" opens with Soundscapes worthy of Robert Fripp, doubled by piano and guitar at 0:39. Drums and muffled voices enter at 0:54 -- are we seeing a pattern to Reznor's writing here? Sonic debris guitar enters at 1:08, bringing forth intensities from white noise. This track is full of subtle joys like the 1:23-1:36 solo by David Bowie pianist Mike Garson and guitarist Adrian Belew's outgoing guitar solo at 2:43, shifting back to the underlying soundscapes at 3:07. The sounds are always on the dissipative edge of chaos. "Just like You Imagined" opens with Soundscapes worthy of Robert Fripp, doubled by piano and guitar at 0:39. Drums and muffled voices enter at 0:54 -- are we seeing a pattern to Reznor's writing here? Sonic debris guitar enters at 1:08, bringing forth intensities from white noise. This track is full of subtle joys like the 1:23-1:36 solo by David Bowie pianist Mike Garson and guitarist Adrian Belew's outgoing guitar solo at 2:43, shifting back to the underlying soundscapes at 3:07. The sounds are always on the dissipative edge of chaos. "Pilgrimage" utilises a persistent ostinato and beat, with a driving guitar overlay at 0:18. This is perhaps the most familiar track, using Reznor motifs like the doubling of the riff with acoustic guitars between 1:12-1:20, march cries, and pitch-shift effects on a 3:18 drumbeat/cymbal. Or at least I could claim it was familiar, if it were not that legendary hip-hop producer and 'edge-of-panic' tactilist Dr. Dre helped assemble the final track mix. "No, You Don't" has been interpreted as an attack on Marilyn Manson and Hole's Courntey Love, particularly the 0:47 line 'Got to keep it all on the outside/Because everything is dead on the inside' and the 2:33 final verse 'Just so you know, I did not believe you could sink so low'. The song's structure is familiar: a basic beat at 0:16, guitars building from 0:31 to sneering vocals, a 2:03 counter-riff that merges at 2:19 with vocals and ascending to the final verse and 3:26 final distortion... "La Mer" is the first major surprise, a beautiful and sweeping fusion of piano, keyboard and cello, reminiscent of Symbolist composer Debussy. At 1:07 Denise Milfort whispers, setting the stage for sometime Ministry drummer Bill Reiflin's jazz drumming at 1:22, and a funky 1:32 guitar/bass line. The pulsing synth guitar at 2:04 serves as anchoring percussion for a cinematic electronica mindscape, filtered through new layers of sonic chiaroscuro at 2:51. 3:06 phase shifting, 3:22 layer doubling, 3:37 outgoing solo, 3:50-3:54 more swirling vocal fragments, seguing into a fading cello quartet as shadows creep. David Carson's moody film-clip captures the end more ominously, depicting the beauty of drowning. This track contains the line 'Nothing can stop me now', which appears to be Reznor's personal mantra. This track rivals 'Hurt' and 'A Warm Place' from The Downward Spiral and 'Something I Can Never Have' from Pretty Hate Machine as perhaps the most emotionally revealing and delicate material that Reznor has written. "The Great Below" ends the first disc with more multi-layered textures fusing nostalgia and reverie: a twelve-second cello riff is counter-pointed by a plucked overlay, which builds to a 0:43 washed pulse effect, transformed by six second pulses between 1:04-1:19 and a further effects layer at 1:24. E-bow effects underscore lyrics like 'Currents have their say' (2:33) and 'Washes me away' (2:44), which a 3:33 sitar riff answers. These complexities are further transmuted by seemingly random events -- a 4:06 doubling of the sitar riff which 'glitches' and a 4:32 backbeat echo that drifts for four bars. While Reznor's lyrics suggest that he is unable to control subjective time-states (like The Joker in the Batman: Dark Knight series of Kali-yuga comic-books), the track constructions show that the Key to his hold over the listener is very carefully constructed songs whose spaces resemble Pythagorean mathematical formulas. Misdirecting the audience is the secret of many magicians. "The Way Out Is Through" opens the 'Right' disc with an industrial riff that builds at 0:19 to click-track and rhythm, the equivalent of a weaving spiral. Whispering 'All I've undergone/I will keep on' at 1:24, Reznor is backed at 1:38 by synths and drums coalescing into guitars, which take shape at 1:46 and turn into a torrential electrical current. The models are clearly natural morphogenetic structures. The track twists through inner storms and torments from 2:42 to 2:48, mirrored by vocal shards at 2:59 and soundscapes at 3:45, before piano fades in and out at 4:12. The title references peri-natal theories of development (particularly those of Stanislav Grof), which is the source of much of the album's imagery. "Into the Void" is not the Black Sabbath song of the same name, but a catchy track that uses the same unfolding formula (opening static, cello at 0:18, guitars at 0:31, drums and backbeat at 1:02, trademark industrial vocals and synth at 1:02, verse at 1:23), and would not appear out of place in a Survival Research Laboratories exhibition. At 3:42 Reznor plays with the edge of synth soundscapes, merging vocals at 4:02 and ending the track nicely at 4:44 alone. "Where Is Everybody?" emulates earlier structures, but relies from 2:01 on whirring effects and organic rhythms, including a flurry of eight beat pulses between 2:40-2:46 and a 3:33 spiralling guitar solo. The 4:26 guitar solo is pure Adrian Belew, and is suddenly ended by spluttering static and white noise at 5:13. "The Mark Has Been Made" signals another downshift into introspectiveness with 0:32 ghostly synth shimmers, echoed by cello at 1:04 which is the doubled at 1:55 by guitar. At 2:08 industrial riffs suddenly build up, weaving between 3:28 distorted guitars and the return of the repressed original layer at 4:16. The surprise is a mystery 32 second soundscape at the end with Reznor crooning 'I'm getting closer, all the time' like a zombie devil Elvis. "Please" highlights spacious noise at 0:48, and signals a central album motif at 1:04 with the line 'Time starts slowing down/Sink until I drown'. The psychic mood of the album shifts with the discovery of Imagination as a liberating force against oppression. The synth sound again is remarkably organic for an industrial album. "Starfuckers Inc" is the now infamous sneering attack on rock-stardom, perhaps at Marilyn Manson (at 3:08 Reznor quotes Carly Simon's 'You're So Vain'). Jungle beats and pulsing synths open the track, which features the sound-sculpting talent of Pop Will Eat Itself member Clint Mansell. Beginning at 0:26, Reznor's vocals appear to have been sampled, looped and cut up (apologies to Brion Gysin and William S. Burroughs). The lines 'I have arrived and this time you should believe the hype/I listened to everyone now I know everyone was right' is a very savage and funny exposure of Manson's constant references to Friedrich Nietzsche's Herd-mentality: the Herd needs a bogey-man to whip it into submission, and Manson comes dangerous close to fulfilling this potential, thus becoming trapped by a 'Stacked Deck' paradox. The 4:08 lyric line 'Now I belong I'm one of the Chosen Ones/Now I belong I'm one of the Beautiful Ones' highlights the problem of being Elect and becoming intertwined with institutionalised group-think. The album version ditches the closing sample of Gene Simmons screaming "Thankyou and goodnight!" to an enraptured audience on the single from KISS Alive (1975), which was appropriately over-the-top (the alternate quiet version is worth hearing also). "The danger Marilyn Manson faces", notes Don Webb (current High Priest of the Temple of Set), "is that he may end up in twenty years time on the 'Tonight Show' safely singing our favourite songs like a Goth Frank Sinatra, and will have gradually lost his antinomian power. It's much harder to maintain the enigmatic aura of an Evil villain than it is to play the clown with society". Reznor's superior musicianship and sense of irony should keep him from falling into the same trap. "Complication" juggernauts in at 0:57 with screaming vocals and a barrage of white noise at 1:56. It's clear by now that Reznor has read his psychological operations (PSYOP) manuals pertaining to blasting the hell out of his audiences' psyche by any means necessary. Computer blip noise and black light flotation tank memories. Dislocating pauses and time-bends. The aural equivalent of Klein bottles. "Complication" juggernauts in at 0:57 with screaming vocals and a barrage of white noise at 1:56. It's clear by now that Reznor has read his psychological operations (PSYOP) manuals pertaining to blasting the hell out of his audiences' psyche by any means necessary. Computer blip noise and black light flotation tank memories. Dislocating pauses and time-bends. The aural equivalent of Klein bottles. "The Big Come Down" begins with a four-second synth/static intro that is smashed apart by a hard beat at 0:05 and kaleidoscope guitars at 0:16. Critics refer to the song's lyrics in an attempt to project a narcissistic Reznor personality, but don't comment on stylistic tweaks like the AM radio influenced backing vocals at 1:02 and 1:19, or the use of guitars as a percussion layer at 1:51. A further intriguing element is the return of the fly samples at 2:38, an effect heard on previous releases and a possible post-human sub-text. The alien mythos will eventually reign over the banal and empty human. At 3:07 the synths return with static, a further overlay adds more synths at 3:45 as the track spirals to its peak, before dissipating at 3:1 in a mesh of percussion and guitars. "Underneath It All" opens with a riff that signals we have reached the album's climatic turning point, with the recurring theme of fragmenting body-memories returning at 0:23 with the line 'All I can do/I can still feel you', and being echoed by pulsing static at 0:42 as electric percussion. A 'Messiah Complex' appears at 1:34 with the line 'Crucify/After all I've died/After all I've tried/You are still inside', or at least it appears to be that on the surface. This is the kind of line that typical rock critics will quote, but a careful re-reading suggests that Reznor is pointing to the painful nature of remanifesting. Our past shapes us more than we would like to admit particularly our first relationships. "Ripe (With Decay)" is the album's final statement, a complex weaving of passages over a repetitive mesh of guitars, pulsing echoes, back-beats, soundscapes, and a powerful Mike Garson piano solo (2:26). Earlier motifs including fly samples (3:00), mournful funeral violas (3:36) and slowing time effects (4:28) recur throughout the track. Having finally reached the psychotic core, Reznor is not content to let us rest, mixing funk bass riffs (4:46), vocal snatches (5:23) and oscillating guitars (5:39) that drag the listener forever onwards towards the edge of the abyss (5:58). The final sequence begins at 6:22, loses fidelity at 6:28, and ends abruptly at 6:35. At millennium's end there is a common-held perception that the world is in an irreversible state of decay, and that Culture is just a wafer-thin veneer over anarchy. Music like The Fragile suggests that we are still trying to assimilate into popular culture the 'war-on-Self' worldviews unleashed by the nineteenth-century 'Masters of Suspicion' (Charles Darwin, Sigmund Freud, Friedrich Nietzsche). This 'assimilation gap' is evident in industrial music, which in the late 1970s was struggling to capture the mood of the Industrial Revolution and Charles Dickens, so the genre is ripe for further exploration of the scarred psyche. What the self-appointed moral guardians of the Herd fail to appreciate is that as the imprint baseline rises (reflective of socio-political realities), the kind of imagery prevalent throughout The Fragile and in films like Strange Days (1995), The Matrix (1999) and eXistenZ (1999) is going to get even darker. The solution is not censorship or repression in the name of pleasing an all-saving surrogate god-figure. No, these things have to be faced and embraced somehow. Such a process can only occur if there is space within for the Sadeian aesthetic that Nine Inch Nails embodies, and not a denial of Dark Eros. "We need a second Renaissance", notes Don Webb, "a rejuvenation of Culture on a significant scale". In other words, a global culture-shift of quantum (aeon or epoch-changing) proportions. The tools required will probably not come just from the over-wordy criticism of Cyber-culture and Cultural Studies or the logical-negative feeding frenzy of most Music Journalism. They will come from a dynamic synthesis of disciplines striving toward a unity of knowledge -- what socio-biologist Edward O. Wilson has described as 'Consilience'. Liberating tools and ideas will be conveyed to a wider public audience unfamiliar with such principles through predominantly science fiction visual imagery and industrial/electronica music. The Fragile serves as an invaluable model for how such artefacts could transmit their dreams and propagate their messages. For the hyper-alert listener, it will be the first step on a new journey. But sadly for the majority, it will be just another hysterical industrial album promoted as selection of the month. References Bester, Alfred. The Stars My Destination. London: Millennium Books, 1999. Eshun, Kodwo. More Brilliant than the Sun: Adventures in Sonic Fiction. London: Quartet Books, 1998. Van der Kolk, Bessel A. "Trauma and Memory." Traumatic Stress: The Effects of Overwhelming Experience on Mind, Body, and Society. Eds. Bessel A. van der Kolk et al. New York: Guilford Press, 1996. Nine Inch Nails. Downward Spiral. Nothing/Interscope, 1994. ---. The Fragile. Nothing, 1999. ---. Pretty Hate Machine. TVT, 1989. Citation reference for this article MLA style: Alex Burns. "'This Machine Is Obsolete': A Listeners' Guide to Nine Inch Nails' The Fragile." M/C: A Journal of Media and Culture 2.8 (1999). [your date of access] <http://www.uq.edu.au/mc/9912/nine.php>. Chicago style: Alex Burns, "'This Machine Is Obsolete': A Listeners' Guide to Nine Inch Nails' The Fragile," M/C: A Journal of Media and Culture 2, no. 8 (1999), <http://www.uq.edu.au/mc/9912/nine.php> ([your date of access]). APA style: Alex Burns. (1999) 'This machine is obsolete': a listeners' guide to Nine Inch Nails' The fragile. M/C: A Journal of Media and Culture 2(8). <http://www.uq.edu.au/mc/9912/nine.php> ([your date of access]).

This article concerns how writing, collaborative writing in particular, acts: how it moves, how it resists, how it does, the four humans writing alongside our co-authoring ‘materials’ – a guitar, for instance – and other more-than-human co-authors, such as affect, friendship, time. We explore writing against systems of oppression and writing through materials of resistance. Writing through can ignite the seething potentiality of a breaking through, and a writing towards the not-yet-known of other lives. We sense this as an unleashing that can act as a challenge to the self-perpetuating autopoieses that neoliberal autonomies and competitive frameworks require. Writing through materials of resistance offers an inducement to work towards the social capaciousness and the thinking with those collective orientations. Writing through refuses the surrender of freedom and offers, through practices of speculation, fabulation and experimentation, an animation of movement that can tap into the capacious fugitive energies of emergent and new collective futures.

The purpose of this narrative inquiry was to re-story the experiences of a first-year music teacher with regard to race and class. Johny was a first-year high school guitar teacher in the southwestern United States who identified as Hispanic and was raised in a family with a lower income. He was also a first-generation college student whose path to university study was atypical because of his major instrument, musical background, little high school music class participation, and entrance to postsecondary music study at a community college. Johny’s story is a work of critical storytelling and is interpreted through an intersectional framework. His story compels us to thoughtfully attend to curriculum, musical knowledge, equity, and how music educators can serve an increasingly diverse student population in schools of music. Issues for consideration include (a) increased support of nontraditional students, including those from marginalized populations, such as students with lower incomes, first-generation students, and community college transfer students, and (b) promoting meaningful and collaborative change across multiple areas in schools of music.

These poems came about when, living in a house in Xalapa, Mexico, without a stereo and no guitar or piano to speak of, I had to invent my own music. Love is infernal, not eternal. The image of the beloved that betrays you, always an image that is both iconic and sacrilegious, an internal and infernal ecstasy that the bolero gives life to. I only realised afterwards that I had written an update of this Caribbean-Mexican genre, a mi manera. So it seemed suitable that they should be in Spanish and English (the latter my first language), exorcising both los demonios de la mirada amada y los demonios de la lengua. These pieces come from a collection of erotic poetry accompanied by interpretive images that will be released by an art press in Spain in 2009. Infernal/romantic is one half of a collaborative project between myself, the Madrid-based Chilean poet, Violeta Medina, and several artists. The collection speaks to desires that are clearly other and demonic.

Every act of art is able to reveal, balance and revive the relations between a territory and its inhabitants (François Davin, Southern Forest Sculpture Walk Catalogue)Introducing the Understory Art in Nature TrailIn February 2015, a colossal wildfire destroyed 98,300 hectares of farm and bushland surrounding the town of Northcliffe, located 365 km south of Perth, Western Australia (WA). As the largest fire in the recorded history of the southwest region (Southern Forest Arts, After the Burn 8), the disaster attracted national attention however the extraordinary contribution of local knowledge in saving a town considered by authorities to be “undefendable” (Kennedy) is yet to be widely appreciated. In accounting for a creative scene that survived the conflagration, this case study sees culture mobilised as a socioeconomic resource for conservation and the healing of community spirit.Northcliffe (population 850) sits on a coastal plain that hosts majestic old-growth forest and lush bushland. In 2006, Southern Forest Arts (SFA) dedicated a Southern Forest Sculpture Walk for creative professionals to develop artworks along a 1.2 km walk trail through pristine native forest. It was re-branded “Understory—Art in Nature” in 2009; then “Understory Art in Nature Trail” in 2015, the understory vegetation layer beneath the canopy being symbolic of Northcliffe’s deeply layered caché of memories, including “the awe, love, fear, and even the hatred that these trees have provoked among the settlers” (Davin in SFA Catalogue). In the words of the SFA Trailguide, “Every place (no matter how small) has ‘understories’—secrets, songs, dreams—that help us connect with the spirit of place.”In the view of forest arts ecologist Kumi Kato, “It is a sense of place that underlies the commitment to a place’s conservation by its community, broadly embracing those who identify with the place for various reasons, both geographical and conceptual” (149). In bioregional terms such communities form a terrain of consciousness (Berg and Dasmann 218), extending responsibility for conservation across cultures, time and space (Kato 150). A sustainable thematic of place must also include livelihood as the third party between culture and nature that establishes the relationship between them (Giblett 240). With these concepts in mind I gauge creative impact on forest as place, and, in turn, (altered) forest’s impact on people. My abstraction of physical place is inclusive of humankind moving in dialogic engagement with forest. A mapping of Understory’s creative activities sheds light on how artists express physical environments in situated creative practices, clusters, and networks. These, it is argued, constitute unique types of community operating within (and beyond) a foundational scene of inspiration and mystification that is metaphorically “rising from the ashes.” In transcending disconnectedness between humankind and landscape, Understory may be understood to both culturalise nature (as an aesthetic system), and naturalise culture (as an ecologically modelled system), to build on a trope introduced by Feld (199). Arguably when the bush is cultured in this way it attracts consumers who may otherwise disconnect from nature.The trail (henceforth Understory) broaches the histories of human relations with Northcliffe’s natural systems of place. Sub-groups of the Noongar nation have inhabited the southwest for an estimated 50,000 years and their association with the Northcliffe region extends back at least 6,000 years (SFA Catalogue; see also Crawford and Crawford). An indigenous sense of the spirit of forest is manifest in Understory sculpture, literature, and—for the purpose of this article—the compilation CD Canopy: Songs for the Southern Forests (henceforth Canopy, Figure 1).As a cultural and environmental construction of place, Canopy sustains the land with acts of seeing, listening to, and interpreting nature; of remembering indigenous people in the forest; and of recalling the hardships of the early settlers. I acknowledge SFA coordinator and Understory custodian Fiona Sinclair for authorising this investigation; Peter Hill for conservation conversations; Robyn Johnston for her Canopy CD sleeve notes; Della Rae Morrison for permissions; and David Pye for discussions. Figure 1. Canopy: Songs for the Southern Forests (CD, 2006). Cover image by Raku Pitt, 2002. Courtesy Southern Forest Arts, Northcliffe, WA.Forest Ecology, Emotion, and ActionEstablished in 1924, Northcliffe’s ill-founded Group Settlement Scheme resulted in frontier hardship and heartbreak, and deforestation of the southwest region for little economic return. An historic forest controversy (1992-2001) attracted media to Northcliffe when protesters attempting to disrupt logging chained themselves to tree trunks and suspended themselves from branches. The signing of the Western Australian Regional Forest Agreement in 1999 was followed, in 2001, by deregulation of the dairy industry and a sharp decline in area population.Moved by the gravity of this situation, Fiona Sinclair won her pitch to the Manjimup Council for a sound alternative industry for Northcliffe with projections of jobs: a forest where artists could work collectively and sustainably to reveal the beauty of natural dimensions. A 12-acre pocket of allocated Crown Land adjacent to the town was leased as an A-Class Reserve vested for Education and Recreation, for which SFA secured unified community ownership and grants. Conservation protocols stipulated that no biomass could be removed from the forest and that predominantly raw, natural materials were to be used (F. Sinclair and P. Hill, personal interview, 26 Sep. 2014). With forest as prescribed image (wider than the bounded chunk of earth), Sinclair invited the artists to consider the themes of spirituality, creativity, history, dichotomy, and sensory as a basis for work that was to be “fresh, intimate, and grounded in place.” Her brief encouraged artists to work with humanity and imagination to counteract residual community divisiveness and resentment. Sinclair describes this form of implicit environmentalism as an “around the back” approach that avoids lapsing into political commentary or judgement: “The trail is a love letter from those of us who live here to our visitors, to connect with grace” (F. Sinclair, telephone interview, 6 Apr. 2014). Renewing community connections to local place is essential if our lives and societies are to become more sustainable (Pedelty 128). To define Northcliffe’s new community phase, artists respected differing associations between people and forest. A structure on a karri tree by Indigenous artist Norma MacDonald presents an Aboriginal man standing tall and proud on a rock to become one with the tree and the forest: as it was for thousands of years before European settlement (MacDonald in SFA Catalogue). As Feld observes, “It is the stabilizing persistence of place as a container of experiences that contributes so powerfully to its intrinsic memorability” (201).Adhering to the philosophy that nature should not be used or abused for the sake of art, the works resonate with the biorhythms of the forest, e.g. functional seats and shelters and a cascading retainer that directs rainwater back to the resident fauna. Some sculptures function as receivers for picking up wavelengths of ancient forest. Forest Folk lurk around the understory, while mysterious stone art represents a life-shaping force of planet history. To represent the reality of bushfire, Natalie Williamson’s sculpture wraps itself around a burnt-out stump. The work plays with scale as small native sundew flowers are enlarged and a subtle beauty, easily overlooked, becomes apparent (Figure 2). The sculptor hopes that “spiders will spin their webs about it, incorporating it into the landscape” (SFA Catalogue).Figure 2. Sundew. Sculpture by Natalie Williamson, 2006. Understory Art in Nature Trail, Northcliffe, WA. Image by the author, 2014.Memory is naturally place-oriented or at least place-supported (Feld 201). Topaesthesia (sense of place) denotes movement that connects our biography with our route. This is resonant for the experience of regional character, including the tactile, olfactory, gustatory, visual, and auditory qualities of a place (Ryan 307). By walking, we are in a dialogue with the environment; both literally and figuratively, we re-situate ourselves into our story (Schine 100). For example, during a summer exploration of the trail (5 Jan. 2014), I intuited a personal attachment based on my grandfather’s small bush home being razed by fire, and his struggle to support seven children.Understory’s survival depends on vigilant controlled (cool) burns around its perimeter (Figure 3), organised by volunteer Peter Hill. These burns also hone the forest. On 27 Sept. 2014, the charred vegetation spoke a spring language of opportunity for nature to reassert itself as seedpods burst and continue the cycle; while an autumn walk (17 Mar. 2016) yielded a fresh view of forest colour, patterning, light, shade, and sound.Figure 3. Understory Art in Nature Trail. Map Created by Fiona Sinclair for Southern Forest Sculpture Walk Catalogue (2006). Courtesy Southern Forest Arts, Northcliffe, WA.Understory and the Melody of CanopyForest resilience is celebrated in five MP3 audio tours produced for visitors to dialogue with the trail in sensory contexts of music, poetry, sculptures and stories that name or interpret the setting. The trail starts in heathland and includes three creek crossings. A zone of acacias gives way to stands of the southwest signature trees karri (Eucalyptus diversicolor), jarrah (Eucalyptus marginata), and marri (Corymbia calophylla). Following a sheoak grove, a riverine environment re-enters heathland. Birds, insects, mammals, and reptiles reside around and between the sculptures, rendering the earth-embedded art a fusion of human and natural orders (concept after Relph 141). On Audio Tour 3, Songs for the Southern Forests, the musician-composers reflect on their regionally focused items, each having been birthed according to a personal musical concept (the manner in which an individual artist holds the totality of a composition in cultural context). Arguably the music in question, its composers, performers, audiences, and settings, all have a role to play in defining the processes and effects of forest arts ecology. Local musician Ann Rice billeted a cluster of musicians (mostly from Perth) at her Windy Harbour shack. The energy of the production experience was palpable as all participated in on-site forest workshops, and supported each other’s items as a musical collective (A. Rice, telephone interview, 2 Oct. 2014). Collaborating under producer Lee Buddle’s direction, they orchestrated rich timbres (tone colours) to evoke different musical atmospheres (Table 1). Composer/Performer Title of TrackInstrumentation1. Ann RiceMy Placevocals/guitars/accordion 2. David PyeCicadan Rhythmsangklung/violin/cello/woodblocks/temple blocks/clarinet/tapes 3. Mel RobinsonSheltervocal/cello/double bass 4. DjivaNgank Boodjakvocals/acoustic, electric and slide guitars/drums/percussion 5. Cathie TraversLamentaccordion/vocals/guitar/piano/violin/drums/programming 6. Brendon Humphries and Kevin SmithWhen the Wind First Blewvocals/guitars/dobro/drums/piano/percussion 7. Libby HammerThe Gladevocal/guitar/soprano sax/cello/double bass/drums 8. Pete and Dave JeavonsSanctuaryguitars/percussion/talking drum/cowbell/soprano sax 9. Tomás FordWhite Hazevocal/programming/guitar 10. David HyamsAwakening /Shaking the Tree /When the Light Comes guitar/mandolin/dobro/bodhran/rainstick/cello/accordion/flute 11. Bernard CarneyThe Destiny Waltzvocal/guitar/accordion/drums/recording of The Destiny Waltz 12. Joel BarkerSomething for Everyonevocal/guitars/percussion Table 1. Music Composed for Canopy: Songs for the Southern Forests.Source: CD sleeve and http://www.understory.com.au/art.php. Composing out of their own strengths, the musicians transformed the geographic region into a living myth. As Pedelty has observed of similar musicians, “their sounds resonate because they so profoundly reflect our living sense of place” (83-84). The remainder of this essay evidences the capacity of indigenous song, art music, electronica, folk, and jazz-blues to celebrate, historicise, or re-imagine place. Firstly, two items represent the phenomenological approach of site-specific sensitivity to acoustic, biological, and cultural presence/loss, including the materiality of forest as a living process.“Singing Up the Land”In Aboriginal Australia “there is no place that has not been imaginatively grasped through song, dance and design, no place where traditional owners cannot see the imprint of sacred creation” (Rose 18). Canopy’s part-Noongar language song thus repositions the ancient Murrum-Noongar people within their life-sustaining natural habitat and spiritual landscape.Noongar Yorga woman Della Rae Morrison of the Bibbulmun and Wilman nations co-founded The Western Australian Nuclear Free Alliance to campaign against the uranium mining industry threatening Ngank Boodjak (her country, “Mother Earth”) (D.R. Morrison, e-mail, 15 July 2014). In 2004, Morrison formed the duo Djiva (meaning seed power or life force) with Jessie Lloyd, a Murri woman of the Guugu Yimidhirr Nation from North Queensland. After discerning the fundamental qualities of the Understory site, Djiva created the song Ngank Boodjak: “This was inspired by walking the trail […] feeling the energy of the land and the beautiful trees and hearing the birds. When I find a spot that I love, I try to feel out the lay-lines, which feel like vortexes of energy coming out of the ground; it’s pretty amazing” (Morrison in SFA Canopy sleeve) Stanza 1 points to the possibilities of being more fully “in country”:Ssh!Ni dabarkarn kooliny, ngank boodja kookoorninyListen, walk slowly, beautiful Mother EarthThe inclusion of indigenous language powerfully implements an indigenous interpretation of forest: “My elders believe that when we leave this life from our physical bodies that our spirit is earthbound and is living in the rocks or the trees and if you listen carefully you might hear their voices and maybe you will get some answers to your questions” (Morrison in SFA Catalogue).Cicadan Rhythms, by composer David Pye, echoes forest as a lively “more-than-human” world. Pye took his cue from the ambient pulsing of male cicadas communicating in plenum (full assembly) by means of airborne sound. The species were sounding together in tempo with individual rhythm patterns that interlocked to create one fantastic rhythm (Australian Broadcasting Corporation, Composer David Pye). The cicada chorus (the loudest known lovesong in the insect world) is the unique summer soundmark (term coined by Truax Handbook, Website) of the southern forests. Pye chased various cicadas through Understory until he was able to notate the rhythms of some individuals in a patch of low-lying scrub.To simulate cicada clicking, the composer set pointillist patterns for Indonesian anklung (joint bamboo tubes suspended within a frame to produce notes when the frame is shaken or tapped). Using instruments made of wood to enhance the rich forest imagery, Pye created all parts using sampled instrumental sounds placed against layers of pre-recorded ambient sounds (D. Pye, telephone interview, 3 Sept. 2014). He takes the listener through a “geographical linear representation” of the trail: “I walked around it with a stopwatch and noted how long it took to get through each section of the forest, and that became the musical timing of the various parts of the work” (Pye in SFA Canopy sleeve). That Understory is a place where reciprocity between nature and culture thrives is, likewise, evident in the remaining tracks.Musicalising Forest History and EnvironmentThree tracks distinguish Canopy as an integrative site for memory. Bernard Carney’s waltz honours the Group Settlers who battled insurmountable terrain without any idea of their destiny, men who, having migrated with a promise of owning their own dairy farms, had to clear trees bare-handedly and build furniture from kerosene tins and gelignite cases. Carney illuminates the culture of Saturday night dancing in the schoolroom to popular tunes like The Destiny Waltz (performed on the Titanic in 1912). His original song fades to strains of the Victor Military Band (1914), to “pay tribute to the era where the inspiration of the song came from” (Carney in SFA Canopy sleeve). Likewise Cathie Travers’s Lament is an evocation of remote settler history that creates a “feeling of being in another location, other timezone, almost like an endless loop” (Travers in SFA Canopy sleeve).An instrumental medley by David Hyams opens with Awakening: the morning sun streaming through tall trees, and the nostalgic sound of an accordion waltz. Shaking the Tree, an Irish jig, recalls humankind’s struggle with forest and the forces of nature. A final title, When the Light Comes, defers to the saying by conservationist John Muir that “The wrongs done to trees, wrongs of every sort, are done in the darkness of ignorance and unbelief, for when the light comes the heart of the people is always right” (quoted by Hyams in SFA Canopy sleeve). Local musician Joel Barker wrote Something for Everyone to personify the old-growth karri as a king with a crown, with “wisdom in his bones.”Kevin Smith’s father was born in Northcliffe in 1924. He and Brendon Humphries fantasise the untouchability of a maiden (pre-human) moment in a forest in their song, When the Wind First Blew. In Libby Hammer’s The Glade (a lover’s lament), instrumental timbres project their own affective languages. The jazz singer intended the accompanying double bass to speak resonantly of old-growth forest; the cello to express suppleness and renewal; a soprano saxophone to impersonate a bird; and the drums to imitate the insect community’s polyrhythmic undercurrent (after Hammer in SFA Canopy sleeve).A hybrid aural environment of synthetic and natural forest sounds contrasts collision with harmony in Sanctuary. The Jeavons Brothers sampled rustling wind on nearby Mt Chudalup to absorb into the track’s opening, and crafted a snare groove for the quirky eco-jazz/trip-hop by banging logs together, and banging rocks against logs. This imaginative use of percussive found objects enhanced their portrayal of forest as “a living, breathing entity.”In dealing with recent history in My Place, Ann Rice cameos a happy childhood growing up on a southwest farm, “damming creeks, climbing trees, breaking bones and skinning knees.” The rich string harmonies of Mel Robinson’s Shelter sculpt the shifting environment of a brewing storm, while White Haze by Tomás Ford describes a smoky controlled burn as “a kind of metaphor for the beautiful mystical healing nature of Northcliffe”: Someone’s burning off the scrubSomeone’s making sure it’s safeSomeone’s whiting out the fearSomeone’s letting me breathe clearAs Sinclair illuminates in a post-fire interview with Sharon Kennedy (Website):When your map, your personal map of life involves a place, and then you think that that place might be gone…” Fiona doesn't finish the sentence. “We all had to face the fact that our little place might disappear." Ultimately, only one house was lost. Pasture and fences, sheds and forest are gone. Yet, says Fiona, “We still have our town. As part of SFA’s ongoing commission, forest rhythm workshops explore different sound properties of potential materials for installing sound sculptures mimicking the surrounding flora and fauna. In 2015, SFA mounted After the Burn (a touring photographic exhibition) and Out of the Ashes (paintings and woodwork featuring ash, charcoal, and resin) (SFA, After the Burn 116). The forthcoming community project Rising From the Ashes will commemorate the fire and allow residents to connect and create as they heal and move forward—ten years on from the foundation of Understory.ConclusionThe Understory Art in Nature Trail stimulates curiosity. It clearly illustrates links between place-based social, economic and material conditions and creative practices and products within a forest that has both given shelter and “done people in.” The trail is an experimental field, a transformative locus in which dedicated physical space frees artists to culturalise forest through varied aesthetic modalities. Conversely, forest possesses agency for naturalising art as a symbol of place. Djiva’s song Ngank Boodjak “sings up the land” to revitalise the timelessness of prior occupation, while David Pye’s Cicadan Rhythms foregrounds the seasonal cycle of entomological music.In drawing out the richness and significance of place, the ecologically inspired album Canopy suggests that the community identity of a forested place may be informed by cultural, economic, geographical, and historical factors as well as endemic flora and fauna. Finally, the musical representation of place is not contingent upon blatant forms of environmentalism. The portrayals of Northcliffe respectfully associate Western Australian people and forests, yet as a place, the town has become an enduring icon for the plight of the Universal Old-growth Forest in all its natural glory, diverse human uses, and (real or perceived) abuses.ReferencesAustralian Broadcasting Commission. “Canopy: Songs for the Southern Forests.” Into the Music. Prod. Robyn Johnston. Radio National, 5 May 2007. 12 Aug. 2014 <http://www.abc.net.au/radionational/programs/intothemusic/canopy-songs-for-the-southern-forests/3396338>.———. “Composer David Pye.” Interview with Andrew Ford. The Music Show, Radio National, 12 Sep. 2009. 30 Jan. 2015 <http://canadapodcasts.ca/podcasts/MusicShowThe/1225021>.Berg, Peter, and Raymond Dasmann. “Reinhabiting California.” Reinhabiting a Separate Country: A Bioregional Anthology of Northern California. Ed. Peter Berg. San Francisco: Planet Drum, 1978. 217-20.Crawford, Patricia, and Ian Crawford. Contested Country: A History of the Northcliffe Area, Western Australia. Perth: UWA P, 2003.Feld, Steven. 2001. “Lift-Up-Over Sounding.” The Book of Music and Nature: An Anthology of Sounds, Words, Thoughts. Ed. David Rothenberg and Marta Ulvaeus. Middletown, CT: Wesleyan UP, 2001. 193-206.Giblett, Rod. People and Places of Nature and Culture. Bristol: Intellect, 2011.Kato, Kumi. “Addressing Global Responsibility for Conservation through Cross-Cultural Collaboration: Kodama Forest, a Forest of Tree Spirits.” The Environmentalist 28.2 (2008): 148-54. 15 Apr. 2014 <http://link.springer.com/article/10.1007/s10669-007-9051-6#page-1>.Kennedy, Sharon. “Local Knowledge Builds Vital Support Networks in Emergencies.” ABC South West WA, 10 Mar. 2015. 26 Mar. 2015 <http://www.abc.net.au/local/stories/2015/03/09/4193981.htm?site=southwestwa>.Morrison, Della Rae. E-mail. 15 July 2014.Pedelty, Mark. Ecomusicology: Rock, Folk, and the Environment. Philadelphia, PA: Temple UP, 2012.Pye, David. Telephone interview. 3 Sep. 2014.Relph, Edward. Place and Placelessness. London: Pion, 1976.Rice, Ann. Telephone interview. 2 Oct. 2014.Rose, Deborah Bird. Nourishing Terrains: Australian Aboriginal Views of Landscape and Wilderness. Australian Heritage Commission, 1996.Ryan, John C. Green Sense: The Aesthetics of Plants, Place and Language. Oxford: Trueheart Academic, 2012.Schine, Jennifer. “Movement, Memory and the Senses in Soundscape Studies.” Canadian Acoustics: Journal of the Canadian Acoustical Association 38.3 (2010): 100-01. 12 Apr. 2016 <http://jcaa.caa-aca.ca/index.php/jcaa/article/view/2264>.Sinclair, Fiona. Telephone interview. 6 Apr. 2014.Sinclair, Fiona, and Peter Hill. Personal Interview. 26 Sep. 2014.Southern Forest Arts. Canopy: Songs for the Southern Forests. CD coordinated by Fiona Sinclair. Recorded and produced by Lee Buddle. Sleeve notes by Robyn Johnston. West Perth: Sound Mine Studios, 2006.———. Southern Forest Sculpture Walk Catalogue. Northcliffe, WA, 2006. Unpaginated booklet.———. Understory—Art in Nature. 2009. 12 Apr. 2016 <http://www.understory.com.au/>.———. Trailguide. Understory. Presented by Southern Forest Arts, n.d.———. After the Burn: Stories, Poems and Photos Shared by the Local Community in Response to the 2015 Northcliffe and Windy Harbour Bushfire. 2nd ed. Ed. Fiona Sinclair. Northcliffe, WA., 2016.Truax, Barry, ed. Handbook for Acoustic Ecology. 2nd ed. Cambridge Street Publishing, 1999. 10 Apr. 2016 <http://www.sfu.ca/sonic-studio/handbook/Soundmark.html>.

Les trois articles de cette section thématique abordent le rôle et la participation des parties prenantes dans la démarche évaluative selon des angles différents. Nous reprenons dans ce texte les points principaux des trois articles, afin d’identifier les facteurs de succès qu’on y retrouve et d’en tirer des leçons. Pour ce faire, nous nous inspirons des « Principes visant à guider les approches collaboratives en évaluation », identifiés par Shulha, Whitmore, Cousins, Gilbert et Al Hudib (2016).Our cross-cutting overview of the three papers that make up this thematic segment shows that each of the papers addresses the issue of stakeholder involvement quite differently from the others. We focus here on the key messages from each of these papers in order to highlight success factors and lessons learned for stakeholder participation in evaluation. Success factors related to collaborative approaches to evaluation are also presented throughout the analysis, based on the “Principles guiding collaborative approaches to evaluation” recently published by Shulha, Whitmore, Cousins, Gilbert et Al Hudib (2016).

Large first year undergraduate courses have unique challenges in the promotion of student engagement and self-directed learning due to resource constraints that prohibit small group discussions with instructors. The Monthly Virtual Mystery was developed to increase student engagement in a large (N = 725) first year undergraduate class in anthropology at the University of Toronto Mississauga. The teaching challenge was to develop a participation component (worth 6% of the final grade) that would increase student engagement without incurring any additional resource costs. The goal of the virtual mystery was to incorporate the principles of problem-based learning to engage students in self-directed learning through an online medium. Groups of approximately 50 students collaborated on a series of “virtual” case studies in a discussion board. Students submitted comments or questions each week to identify the information they needed to solve the mystery. A facilitator oversaw the discussion board to guide students in collaboration and resource acquisition. The final grades of students who participated in the virtual mystery (N=297) were compared to students who participated in a passive online learning exercise that involved watching weekly online videos and answering questions in a course reader (N = 347). Student self-selection determined group participation. Participation completion for both the virtual mystery and the course reader were high (78.8% and 91.6% respectively). There were no significant differences in the distribution of final grades between the participation options. The high completion rate of the virtual mystery demonstrated that an active learning project can be implemented using problem-based learning principles through an online discussion board; however, the large online group collaborations were problematic. Students were frustrated with repetition and inequitable participation in such large groups; however, students evaluated the monthly mystery as a valuable learning tool that engaged them through the practical nature of the case scenarios. Au premier cycle, les grandes classes de première année présentent des défis uniques en ce qui concerne la promotion de la participation de l’étudiant et de l’apprentissage autonome en raison des contraintes au niveau des ressources qui empêchent les discussions par petits groupes avec des instructeurs. Le Monthly Virtual Mystery (Le mystère virtuel mensuel) a été créé afin d’améliorer la participation des étudiants dans les très grandes classes (N = 725) d’anthropologie de première année, au premier cycle, à l’Université de Toronto Mississauga. Ce défi en matière d’enseignement avait pour but de développer une composante de participation (qui valait 6 % de la note finale) qui allait permettre d’augmenter la participation des étudiants sans que cela entraîne des coûts supplémentaires en ressources. L’objectif du mystère virtuel était d’incorporer les principes de l’apprentissage par problèmes afin d’engager les étudiants dans un apprentissage autonome grâce à un support en ligne. Des groupes d’environ 50 étudiants ont collaboré à une série d’études de cas « virtuelles » dans un forum de discussion. Les étudiants ont envoyé chaque semaine des commentaires ou des questions afin d’identifier les renseignements dont ils avaient besoin pour résoudre le mystère. Un animateur contrôlait le forum de discussion afin de guider les étudiants dans leur collaboration et leur acquisition des ressources. Les notes finales des étudiants qui avaient participé au mystère virtuel (N = 297) ont été comparées à celles des étudiants qui avaient participé à un exercice d’apprentissage passif en ligne qui consistait à regarder des vidéos hebdomadaires en ligne et à répondre à des questions figurant dans un recueil des textes du cours (N = 347). L’auto-sélection des étudiants avait déterminé la participation aux groupes. La participation, tant pour le mystère virtuel que pour le recueil des textes du cours, a été très élevée (78,8 % et 91,6 % respectivement). Aucune différence significative n’a été notée entre les deux options de participation en ce qui concerne la répartition des notes finales. Le taux de réussite élevé du mystère virtuel a montré qu’un projet d’apprentissage actif peut être mis en place si on utilise les principes de l’apprentissage par problèmes dans un forum de discussion en ligne. Toutefois, les collaborations de grands groupes en ligne ont posé quelques problèmes : les étudiants se sont sentis frustrés par la répétition et la participation inéquitable dans de tels grands groupes. Pourtant, les étudiants ont évalué le mystère mensuel comme un outil d’apprentissage utile qui leur a permis de participer grâce à la nature pratique des scénarios des études de cas.

Jamming culture has become associated with digital manipulation and reuse of materials. As well, the term jamming has long been used by musicians (and other performers) to mean improvisation, especially in collaborative situations. A practice that gets to the heart of both these meanings is live coding; where digital content (music and/or visuals predominantly) is created through computer programming as a performance. During live coding performances digital content is created and presented in real time. Normally the code from the performers screen is displayed via data projection so that the audience can see the unfolding process as well as see or hear the artistic outcome. This article will focus on live coding of music, but the issues it raises for jamming culture apply to other mediums also. Live coding of music uses the computer as an instrument, which is “played” by the direct construction and manipulation of sonic and musical processes. Gestural control involves typing at the computer keyboard but, unlike traditional “keyboard” instruments, these key gestures are usually indirect in their effect on the sonic result because they result in programming language text which is then interpreted by the computer. Some live coding performers, notably Amy Alexander, have played on the duality of the keyboard as direct and indirect input source by using it as both a text entry device, audio trigger, and performance prop. In most cases, keyboard typing produces notational description during live coding performances as an indirect music making, related to what may previously have been called composing or conducting; where sound generation is controlled rather than triggered. The computer system becomes performer and the degree of interpretive autonomy allocated to the computer can vary widely, but is typically limited to probabilistic choices, structural processes and use of pre-established sound generators. In live coding practices, the code is a medium of expression through which creative ideas are articulated. The code acts as a notational representation of computational processes. It not only leads to the sonic outcome but also is available for reflection, reuse and modification. The aspects of music described by the code are open to some variation, especially in relation to choices about music or sonic granularity. This granularity continuum ranges from a focus on sound synthesis at one end of the scale to the structural organisation of musical events or sections at the other end. Regardless of the level of content granularity being controlled, when jamming with code the time constraints of the live performance environment force the performer to develop succinct and parsimonious expressions and to create processes that sustain activity (often using repetition, iteration and evolution) in order to maintain a coherent and developing musical structure during the performance. As a result, live coding requires not only new performance skills but also new ways of describing the structures of and processes that create music. Jamming activities are additionally complex when they are collaborative. Live Coding performances can often be collaborative, either between several musicians and/or between music and visual live coders. Issues that arise in collaborative settings are both creative and technical. When collaborating between performers in the same output medium (e.g., two musicians) the roles of each performer need to be defined. When a pianist and a vocalist improvise the harmonic and melodic roles are relatively obvious, but two laptop performers are more like a guitar duo where each can take any lead, supportive, rhythmic, harmonic, melodic, textual or other function. Prior organisation and sensitivity to the needs of the unfolding performance are required, as they have always been in musical improvisations. At the technical level it may be necessary for computers to be networked so that timing information, at least, is shared. Various network protocols, most commonly Open Sound Control (OSC), are used for this purpose. Another collaboration takes place in live coding, the one between the performer and the computer; especially where the computational processes are generative (as is often the case). This real-time interaction between musician and algorithmic process has been termed Hyperimprovisation by Roger Dean. Jamming cultures that focus on remixing often value the sharing of resources, especially through the movement and treatment of content artefacts such as audio samples and digital images. In live coding circles there is a similarly strong culture of resource sharing, but live coders are mostly concerned with sharing techniques, processes and tools. In recognition of this, it is quite common that when distributing works live coding artists will include descriptions of the processes used to create work and even share the code. This practice is also common in the broader computational arts community, as evident in the sharing of flash code on sites such as Levitated by Jared Tarbell, in the Processing site (Reas & Fry), or in publications such as Flash Maths Creativity (Peters et al.). Also underscoring this culture of sharing, is a prioritising of reputation above (or prior to) profit. As a result of these social factors most live coding tools are freely distributed. Live Coding tools have become more common in the past few years. There are a number of personalised systems that utilise various different programming languages and environments. Some of the more polished programs, that can be used widely, include SuperCollider (McCartney), Chuck (Wang & Cook) and Impromptu (Sorensen). While these environments all use different languages and varying ways of dealing with sound structure granularity, they do share some common aspects that reveal the priorities and requirements of live coding. Firstly, they are dynamic environments where the musical/sonic processes are not interrupted by modifications to the code; changes can be made on the fly and code is modifiable at runtime. Secondly, they are text-based and quite general programming environments, which means that the full leverage of abstract coding structures can be applied during live coding performances. Thirdly, they all prioritise time, both at architectural and syntactic levels. They are designed for real-time performance where events need to occur reliably. The text-based nature of these tools means that using them in live performance is barely distinguishable from any other computer task, such as writing an email, and thus the practice of projecting the environment to reveal the live process has become standard in the live coding community as a way of communicating with an audience (Collins). It is interesting to reflect on how audiences respond to the projection of code as part of live coding performances. In the author’s experience as both an audience member and live coding performer, the reception has varied widely. Most people seem to find it curious and comforting. Even if they cannot follow the code, they understand or are reassured that the performance is being generated by the code. Those who understand the code often report a sense of increased anticipation as they see structures emerge, and sometimes opportunities missed. Some people dislike the projection of the code, and see it as a distasteful display of virtuosity or as a distraction to their listening experience. The live coding practitioners tend to see the projection of code as a way of revealing the underlying generative and gestural nature of their performance. For some, such as Julian Rohrhuber, code projection is a way of revealing ideas and their development during the performance. “The incremental process of livecoding really is what makes it an act of public reasoning” (Rohrhuber). For both audience and performer, live coding is an explicitly risky venture and this element of public risk taking has long been central to the appreciation of the performing arts (not to mention sport and other cultural activities). The place of live coding in the broader cultural setting is still being established. It certainly is a form of jamming, or improvisation, it also involves the generation of digital content and the remixing of cultural ideas and materials. In some ways it is also connected to instrument building. Live coding practices prioritise process and therefore have a link with conceptual visual art and serial music composition movements from the 20th century. Much of the music produced by live coding has aesthetic links, naturally enough, to electronic music genres including musique concrète, electronic dance music, glitch music, noise art and minimalism. A grouping that is not overly coherent besides a shared concern for processes and systems. Live coding is receiving greater popular and academic attention as evident in recent articles in Wired (Andrews), ABC Online (Martin) and media culture blogs including The Teeming Void (Whitelaw 2006). Whatever its future profile in the boarder cultural sector the live coding community continues to grow and flourish amongst enthusiasts. The TOPLAP site is a hub of live coding activities and links prominent practitioners including, Alex McLean, Nick Collins, Adrian Ward, Julian Rohrhuber, Amy Alexander, Frederick Olofsson, Ge Wang, and Andrew Sorensen. These people and many others are exploring live coding as a form of jamming in digital media and as a way of creating new cultural practices and works. References Andrews, R. “Real DJs Code Live.” Wired: Technology News 6 July 2006. http://www.wired.com/news/technology/0,71248-0.html>. Collins, N. “Generative Music and Laptop Performance.” Contemporary Music Review 22.4 (2004): 67-79. Fry, Ben, and Casey Reas. Processing. http://processing.org/>. Martin, R. “The Sound of Invention.” Catapult. ABC Online 2006. http://www.abc.net.au/catapult/indepth/s1725739.htm>. McCartney, J. “SuperCollider: A New Real-Time Sound Synthesis Language.” The International Computer Music Conference. San Francisco: International Computer Music Association, 1996. 257-258. Peters, K., M. Tan, and M. Jamie. Flash Math Creativity. Berkeley, CA: Friends of ED, 2004. Reas, Casey, and Ben Fry. “Processing: A Learning Environment for Creating Interactive Web Graphics.” International Conference on Computer Graphics and Interactive Techniques. San Diego: ACM SIGGRAPH, 2003. 1. Rohrhuber, J. Post to a Live Coding email list. livecode@slab.org. 10 Sep. 2006. Sorensen, A. “Impromptu: An Interactive Programming Environment for Composition and Performance.” In Proceedings of the Australasian Computer Music Conference 2005. Eds. A. R. Brown and T. Opie. Brisbane: ACMA, 2005. 149-153. Tarbell, Jared. Levitated. http://www.levitated.net/daily/index.html>. TOPLAP. http://toplap.org/>. Wang, G., and P.R. Cook. “ChucK: A Concurrent, On-the-fly, Audio Programming Language.” International Computer Music Conference. ICMA, 2003. 219-226 Whitelaw, M. “Data, Code & Performance.” The Teeming Void 21 Sep. 2006. http://teemingvoid.blogspot.com/2006/09/data-code-performance.html>. Citation reference for this article MLA Style Brown, Andrew R. "Code Jamming." M/C Journal 9.6 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0612/03-brown.php>. APA Style Brown, A. (Dec. 2006) "Code Jamming," M/C Journal, 9(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0612/03-brown.php>.

Partnerships with students are considered one of the principles of good Scholarship of Teaching and Learning (SoTL) practice. However, not all partnerships are equally successful. What characteristics are common to successful partnerships and what preparatory elements can lead toward more successful partnerships? In this article, our team of graduate students, educational developers, and faculty members engage in detailed self-reflection on our past and ongoing SoTL projects as an inquiry into what it means to be in a successful student-faculty/staff partnership. Using thematic analysis, we identify and describe four distinct domains that can shape partnerships: (1) motivations to participate, (2) challenges, (3) power, and (4) definitions of success. The article concludes with a set of questions to stimulate initial and ongoing conversations between partners to guide new partnerships in defining the parameters for success in their proposed collaboration. Les partenariats avec les étudiants sont considérés comme l’un des principes de bonne pratique de l’Avancement des connaissances en enseignement et en apprentissage (ACEA). Toutefois, tous les partenariats ne connaissent pas le même succès. Quelles sont les caractéristiques communes des partenariats réussis et quels sont les éléments préparatoires qui peuvent aboutir à des partenariats mieux réussis? Dans cet article, notre groupe, consistant d’étudiants de cycles supérieurs, de conseillers pédagogiques et de professeurs, se lance dans une auto-réflexion détaillée sur nos projets passés et présents en ACEA qui constitue une enquête sur ce que cela signifie de faire partie d’un partenariat réussi entre étudiants, professeurs et membres du personnel. Par le biais de l’analyse thématique, nous identifions et décrivons quatre domaines distincts qui façonnent les partenariats : 1) la motivation à participer, 2) les défis, 3) le pouvoir et 4) les définitions de la réussite. En conclusion, nous posons un groupe de questions pour stimuler les conversations initiales et continues entre les divers partenaires afin de guider les nouveaux partenariats à définir les paramètres menant à la réussite dans leur collaboration proposée.

Résumé L’article présente une méthode groupale d’analyse d’incidents critiques visant la légitimation, l’analyse critique et la transformation des pratiques professionnelles. La méthode est utilisée en recherche collaborative auprès d’intervenantes et d’intervenants en emploi ainsi que dans la supervision de stagiaires en sciences de l’orientation. Pour donner ses fruits, la réflexion à laquelle l’exercice d’analyse donne lieu doit être ancrée dans la pratique et l’expérience, être confrontée au regard des collègues et être mise en lien avec des modèles et notions théoriques. Cette distanciation aide le sujet à reconstruire le sens de son expérience, à consolider ou nuancer certaines représentations qu’il a de lui-même et du réel, à mieux comprendre ce qui conditionne son action et à sortir de ses routines en élargissant le registre des stratégies pouvant être considérées dans son intervention. Le groupe d’analyse doit devenir un espace sécuritaire d’expression, de dialogue et de délibération, mais aussi permettre la confrontation des interprétations essentielle à la transformation et au raffermissement des positionnements individuels et collectifs. Les défis de l’exercice sont de guider les membres vers une position de parole engagée afin d’éviter les glissements vers la rationalisation et l’autojustification, mais d’aller au-delà de l’expérience vécue du sujet.

"Love Will Tear Us Apart" When routine bites hard, And ambitions are low, And resentment rides high, But emotions won't grow, And we're changing our ways, taking different roads. Then love, love will tear us apart, again. Love, love will tear us apart again. Why is the bedroom so cold? You've turned away on your side. Is my timing that flawed? Our respect runs so dry. Yet there's still this appeal that we've kept through our lives But love, love will tear us apart, again. Love, love will tear us apart, again. You cry out in your sleep, All my failings exposed. And there's a taste in my mouth, As desperation takes hold. Just that something so good just can't function no more But love, love will tear us apart again. Love, love will tear us apart again. Love, love will tear us apart again. Love, love will tear us apart again. Ian Curtis (1980) [in Curtis 1995:170-71] Watching the film 24 Hour Party People (2002), I remembered how much I used to love the bleak and danceable music that came from Manchester, England in the 1970s and 1980s. The early part of the film focuses on the aftermath of the Sex Pistols’ first visit to Manchester in 1976 and depicts the creation of Factory Records by Tony Wilson and the formation of Joy Division, one of the label’s most promising bands. Most of the band members were part a small group of people who were present at the Sex Pistols’ concert. The film shows the rise of the band and the strange allure of singer Ian Curtis, who killed himself in 1980 days before the band was set to embark on its first tour of the United States. After his death, Curtis became a figure of cult adoration and fascination. He remains so today. One of Joy Division’s most popular songs is “Love Will Tear Us Apart” (1980), reputedly about the dissolution of Curtis’s marriage (for more on this relationship, see the memoir of Curtis’s wife [1995]). In his brief life, Curtis’s recorded vocals were more announced than sung. In a dark, distant baritone, his lyrics sounded almost android-like, hinting at melody without indulging in the maudlin excess of the pop song. His distance from love song sentimentality often moved to a near yell that revealed painful sadness instead of irony (as in the lyrics and style of Morrissey of The Smiths, for example). Unlike the angry manic vocals that had already become a cliché in punk following Sex Pistols Johnny Lydon’s nasal wailing, Curtis offered the disturbing chest voice of melancholia. The band’s sound, as it began to evolve from three-chord punk to a more complicated and innovative collaboration of elements, included syncopated drum beats, a prominent bass line that flirted with funk rhythm, and a dirge-like guitar. In some songs, such as “Love Will Tear Us Apart,” a synthesizer was included, repeating and harmonizing to the repeated chorus. Such an embellishment was unheard of in guitar-oriented rock music at the time. Thus “Love” succeeds on three levels: it is an anthem of the “doom element” in relationships; it is musically adventuresome, and at the same time it is a dance song, played ad infinitum in the new wave dance halls of the 1980s. (Later, New Order, a band created in the wake of Curtis’s death and also on Factory Records, had an even bigger dance hit with the song “Blue Monday,” depicting another kind of failed romance.) To suggest an interpretation of the song lyrics: the couple’s love is all but doomed. Set in a depressing Northern England, there is no way for love to succeed: there is no room for “something so good”. Curtis doesn’t blame the failure of the relationship on either himself or the beloved in the song; there are traditions at work that cause the closeness of the relationship to dissolve into distance. In the song, it is suggested that the protagonist is unable to satisfy his lover, and yet the couple are unable to speak about it and the beloved turns away. Thus, he and his lover inherit a scenario that sets a mechanism to work against them. They cannot conquer their silences. Romeo and Juliet had the visible force of warring clans to defeat their love. In Curtis’s song, however, there are invisible social forces and the inadequacy of communication itself working against the couple. That their love is doomed is not so new. What makes the song sad is not that love tears them apart; the sadness is that love tears them apart again. Even though they have been through this torment before, there is no way to avoid its return. Without knowing it, they have called upon Love to bring it back. Of course, romantic love is often – if not usually – the province of popular song, from the ballad to the contemporary dance song. Disco, for example, perpetuated two sides of this fixation on love. One was the declaration of the ecstasy and spirituality of sexual love heard in Donna Summer’s “I Feel Love” (1977) or Sylvester’s “You Make Me Feel Mighty Real” (1979); the other was the manifesto of outliving the heartbreak caused by a deceitful lover (Gloria Gaynor’s “I Will Survive” [1978] or more recently, Whitney Houston’s “Its Not Right But Its Okay” [1999]). Love could be a savior to a lonely soul, providing the singer (and by extension, the dancing listener) with bodily pleasure. When disco singers, (usually female, usually black) sang of love’s demise, it was due to a lowly, no-good man revealing his true self. Yet in these tales, the failure of love sparked the ability of a smart, able woman to live an honorable life – even if she must do it on her own and find a divinity in herself. In disco, Love flirted with religion. Punk rock, at its inception, turned away from love as subject matter. For example, John Lydon, lead singer of the Sex Pistols (then known as Johnny Rotten) was quoted as saying that love was something felt for a cat or a dog. In a setting squeezed dry of spirituality and sexual bliss, for him love was illusionary and diversionary. Punk seemed to invest itself in other emotions, such as anger, and screamed about institutions, leaders, traditions—including the traditions of pop music itself. Yet love quickly returned as subject matter to punk music. The Buzzcocks, unlike the polemically political band The Clash, turned to romance and sex as subject matter. They debuted as the opening act at the Sex Pistols’ second visit to Manchester, and became known for bittersweet, uptempo love songs such as “What Do I Get?” (1978) and “Ever Fallen In Love With Someone (You Shouldn't've Fallen In Love With)?” (1978). Even “Orgasm Addict” (1977) tells the tale of a Casanova of sorts. The beloved in a Buzzcocks’ song was gender ambiguous, and the lyrics’ tone was ironic – if not sarcastic – about love’s misery. The band matched buzzsaw guitar with catchy melodies; the Buzzcocks wrote breakneck love songs you could dance to, even if the dancing was a bit of a flail. Singer Pete Shelley may seem to suffer from near-abject rejection, but he did so with abundant energy. Even John Lydon, in his later incarnation as the singer of Public Image Limited (PiL), penned the lyrics to the song “This is Not a Love Song (1983).” He screeched the words in the title over and over, and hence suggested that as much as the song was anti-romance, there was no way around Love. It returns endlessly, even if love was – as concept, as reality – to be rejected as part of a political conspiracy to turn one into a duped consumer of sounds, images, and stories. Love was inevitable. You are just going to end up feeling something for somebody. To rephrase a million pop songs (as done in the film Moulin Rouge (2001) in its medley of “silly love songs”): love is going to get you, it lifts you up where you belong, but it doesn’t live here anymore, although it may come back when you least expect it, you can’t hurry it… We, as listeners, let the song’s sentiment substitute for what we cannot say. Songs are emotional surrogates for the couple as well as the single in recovery. Regardless, we search the airwaves for our song. “Love Will Tear Us Apart” was this song in 1980, perfect for the failed romantic who dressed in dark colors, drew up lists of things s/he hated, and was prone to mourn a relationship even as it was beginning. As such this song was perfect for me back then, especially since it had a good beat and I could dance to its timely and timeless sadness. The pop song, then, is a site of endless, popular philosophizing on the nature of Love. Many of these songs, when they don’t blame the world for not letting love last, depict Love as if were a force, or an entity out there in the universe. When it enters our atmosphere (via Cupid?), it wreaks havoc and produces harmony, however fleeting. This metaphysical story of love, however, is far from the psychoanalytic tale of the origins of love. For psychoanalyst Melanie Klein, love is no mystery. It’s a production process. The baby learns to love through its relationship with the mother and, in particular – at least at first – with the mother’s breast. The mother’s breast provides nourishment for the hungry infant as well as sensuality and security. Through this activity the infant learns to love, for love is made through these intimate connections. Also for Klein, the ability to hate is created when the mother does not provide for her child. The dynamics of this relationship enable fantasy on the part of the child. Melanie Klein writes in “Love, Guilt, and Reparation” that “the baby who feels a craving for his mother’s breast when it is not there may imagine it to be there, i.e. he may imagine the satisfaction which he derives from it” (60). Thus, even as an infant, one is given to flights of fantasy, imagining all sorts of sources of nourishment and sensuality. One can surmise that since every child has to grow up and lose the intensity of this first connection, one can see that love becomes affiliated with loss. All sorts of complaints toward parents, and later, lovers, are unavoidable – blame it on our psyches which are factories of fantasy and embedded remembrances. We have to grow up and move from a succession of psychic and real homes. No wonder everyone worries about the beloved leaving, for each of us has been left before. The story of love that Klein tells does, though, have a tentative happy ending, for we are not entirely prisoners of our experiences: “If we have become able, deep in our unconscious minds, to clear our feelings to some extent towards our parents of grievances, and have forgiven them for the frustrations we had to bear, then we can be at peace with ourselves and are able to love others in the true sense of the word” (119). But no doubt, it is a big “if” that begins her sentence. Importantly, in Klein’s view, love is not an external, or otherworldly force; it is made via the needs and interactions of the infantile and maternal body. Equally importantly, though, this process necessitates separation and hence the psychoanalytic love story is one in which the protagonist is taught to love and lose in rapid succession – and requires reparation. Love is both inescapable and impossible. With such a sad narrative lodged in our unconscious, one can understand the reasons why songwriters resort to the metaphysics and divinity of love. Even though love hurts in its endings, as Curtis suggests, we have a history of trying it all over again. No listener ever believed Dionne Warwick when she sang the Burt Bacharach/Hal David song “I’ll Never Fall in Love Again” (1969). Dionne probably picked up the pieces of her broken heart and found the next guy who she knew in the back of her mind was all wrong for her. As Freud insists, we are compelled to repeat behavior patterns that do not always result in pleasure. This is not because all humans are born masochists. Rather, as Freud argues in Beyond the Pleasure Principle (1961), humans have “an instinct for mastery” that requires repetition. (10). Freud discovered this “instinct” through observing a child playing a game with a wooden reel and a piece of string when his mother leaves him alone. In the game, the child holds onto the string and throws the reel over the edge of the bed. He narrates his action by saying “fort” (gone) and then “da” (there). Freud reads this game as a kind of allegory for the loss he feels with his mother’s sporadic disappearances. The good doctor wonders why a child would replicate such a hurtful experience. He suggests that this game gives the child a compensatory sense of power over the inability to control the actions of his mother. Freud deems the child’s game “a cultural achievement” and an “instinctual renunciation” (of satisfaction). Contemporary readers may well be wary of Freud’s use of the word “instinct.” But I suggest that the will to continue to find love is not only due to a desire to find’s one soul-mate (or to put it more mundanely, “life partner”) although this desire is indeed a crucial impetus for the renewed search. We persevere in this almost futile endeavor to find the perfect romantic love in part due to a compulsion to repeat. The love song, even when it pontificates about remorse and pain in pseudo-abstract terms, is often a grown up version of the child’s “fort-da” game. The sad love song is a social device for coping with pain by restating it in a narrated and sung form. That’s why some of the best tunes are the most woeful ones. And “Love Will Tear Us Apart” is one of the best—it provokes many a listener to sing along with the song’s sorrow while dancing in brooding near-abandon. Works Cited Curtis, Deborah. Touching from a Distance: Ian Curtis and Joy Division. London: Faber, 1995. Freud, Sigmund. Beyond the Pleasure Principle. New York: Norton, 1961. Klein, Melanie. “Love, Guilt and Reparation.” Love, Hate and Reparation. Eds. Melanie Klein and Joan Riviere. New York: Norton, 1964. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Miller, Edward D.. "Why Does Love Tear Us Apart? " M/C: A Journal of Media and Culture 5.6 (2002). Dn Month Year < http://www.media-culture.org.au/0211/whydoeslovetearusapartagain.php>. APA Style Miller, E. D., (2002, Nov 20). Why Does Love Tear Us Apart? . M/C: A Journal of Media and Culture, 5,(6). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0211/whydoeslovetearusapartagain.html

Résumé Contexte : Il n’existe aucun outil par jalons reposant sur les CanMEDS-MF pour guider la rétroaction en supervision par observation directe (SPOD). Nous avons développé un guide pour soutenir la documentation de la rétroaction en SPOD en médecine familiale (MF) au Canada. Méthode : La conception du Guide a été effectuée en trois phases avec la collaboration de cinq programmes de MF canadiens ayant minimalement un site d’enseignement francophone : 1) recension des écrits et étude des besoins; 2) élaboration du Guide de rétroaction SPOD; 3) mise à l’essai du Guide en contexte de simulation vidéo avec analyse de contenu qualitative. Résultats : La phase 1 a démontré le besoin d’un guide narratif ayant pour but 1) de préciser les attentes mutuelles selon le niveau de formation du résident et le contexte clinique, 2) d’outiller et structurer le superviseur dans ses observations 3) de faciliter la documentation de la rétroaction. La phase 2 a permis d’élaborer le Guide, en formats papier et électronique, répondant aux besoins identifiés. En phase 3, 15 superviseurs ont utilisé le guide pour trois niveaux de résidence. Le Guide a été ajusté à la suite de cette mise à l’essai pour rappeler les phases de la rencontre clinique souvent oubliées durant la rétroaction (avant la consultation, diagnostic et suivi), et y suggérer des types de formulation à favoriser (questions stimulantes, questions de clarification, réflexions). Conclusion : Issu de données probantes et d’une démarche de concertation, ce Guide outillera les superviseurs et résidents francophones canadiens dans leurs activités de SPOD en médecine familiale.

The world-wide demand for international education continues to grow and Canadian universities are rising to meet this need. The rationales for internationalization are many and are culturally, politically, academically, and economically based. An overview of the current state of internationalization, its initiatives and programs at Canadian universities is outlined. Some of the challenges of internationalization include a lack of resources and a need for university-wide centralized and collaborative leadership for incoming international students, and study abroad programs. University staff and faculty would benefit from availing themselves of intercultural training provided through their university international offices. Many Canadian universities fully support internationalization in their strategic plans yet have less developed plans of how to implement internationalization into the teaching, support and service dimensions of the university. A case study describes how a mid-sized Catholic affiliated public university college in Ontario is implementing international programs and services for students. Cooperative and experiential learning theories are utilized as a means of guiding implementation. La demande universelle pour l'éducation internationale continue à s'agrandir et les universités canadiennes se montrent à la hauteur de la situation. Il y a plusieurs raisons pour cette internationalisation et elles sont de bases culturelle, politique, universitaire et économique. L'auteur esquisse ici une vue d'ensemble de l'état actuel de cette internationalisation, ses initiatives et ses programmes dans les universités canadiennes. Quelques-uns des défis de cette internationalisation comprennent un manque de ressources et le besoin d'une direction centralisée et collaborative entre les universités pour les programmes d'accueil des étudiants internationaux au Canada et pour les Canadiens qui étudient à l'étranger. La formation interculturelle fournie par les bureaux internationaux des universités ferait du bien aux membres enseignants des universités et aux facultés. Dans leurs plans stratégiques, plusieurs universités canadiennes soutiennent complètement l'internationalisation, mais elles n'ont pas développé les projets pour réaliser l'internationalisation dans toute l'étendue de leur enseignement, leur soutien et de leur service. Par une étude de cas l'auteur décrit comment une faculté catholique de taille moyenne affiliée avec l'université de Western Ontario réalise ses programmes d'internationalisation et offre ses services aux étudiants. Les théories d'apprentissage basées sur l'expérience et sur la coopération sont utilisées pour guider cette réalisation.