Gotowa bibliografia na temat „Harmony Community School (Cincinnati, Ohio)”

Residents in rural Kentucky (KY) and suburban Ohio (OH) expressed concerns about radon exposure and lung cancer. Although 85% of lung cancer cases are caused by tobacco smoke, radon exposure accounts for 10–15% of lung cancer cases. Academic and community members from the University of KY and the University of Cincinnati developed and pilot-tested a family-centered, youth-engaged home radon testing toolkit. The radon toolkit included radon information, and how to test, interpret, and report back findings. We educated youth as citizen scientists and their teachers in human subjects protection and home radon testing using the toolkit in the classroom. Youth citizen scientists explained the study to their parents and obtained informed consent. One hundred students were trained in human subjects protection, 27 had parental permission to be citizen scientists, and 18 homeowners completed surveys. Radon values ranged from < 14.8 Bq/m3 to 277.5 Bq/m3. Youth were interested and engaged in citizen science and this family-centered, school-based project provided a unique opportunity to further the healthy housing and quality education components of the Sustainable Development Goals for 2030. Further research is needed to test the impact of student-led, family-centered citizen science projects in environmental health as part of school curricula.

Introduction Sickle cell disease (SCD) affects over 100,000 people in the US, the majority of whom are African American. Socioeconomic challenges have a significant impact on both access and adherence to appropriate treatments which, given a history of racial segregation and discrimination, disproportionately burden under-represented minorities. The distribution of socioeconomic factors, like poverty, educational attainment, and housing quality, can now be assessed routinely at the population level, yet the distribution and impact of such contextual risks in the pediatric sickle cell population have not been sufficiently described. Here, we sought to characterize the burden of neighborhood-level socioeconomic challenges and barriers among children with SCD in one large, urban county. We also sought to determine whether these area-level indicators were associated with hospitalizations and markers of adherence to SCD medications. Methods We pursued a retrospective review of electronic health record data from 2011-2017 for children with HbSS disease in the active Cincinnati Children's Hospital Medical Center's SCD registry which includes all children receiving care within the past two years in the Comprehensive Sickle Cell Center and is representative of nearly all children with SCD in Hamilton County, Ohio. The analysis was performed under an IRB-approved study investigating socioeconomic factors for children in Hamilton County. Children within the SCD registry were excluded from this analysis if they had a non-HbSS genotype or an address outside of Hamilton County. Addresses were geocoded and linked to a specific census tract which approximates local neighborhood boundaries. Once linked to a census tract, that address was connected to a pre-determined list of variables present within the 2013-2017 US Census' American Community Survey. Variables included the census tract poverty rate, educational attainment rate (percentage of adults with less than a high school education), and the percentage of vacant housing. A validated census tract-level deprivation index, assembled from 6 such census variables, was also included. Outcomes of interest included number of hospitalizations and ED visits during the study period and %HbF for the subset on hydroxyurea treatment. Descriptive statistics were used to illustrate ecological socioeconomic characteristics among included patients. Associations between area-based socioeconomic deprivation and outcomes of interest were tested using the Kruskal-Wallis Test. Results There were 141 patients with HbSS included in the analysis (53% Male, 82% publicly insured). Mean age at the end of the analysis period was 9.6±6.3 years. Consistent with the aggressive treatment strategy at our center, most (97%) were on disease modifying treatment with either hydroxyurea (81%) or chronic transfusion therapy (16%). Compared to the county as a whole, children in the registry mapped to areas with relatively high rates of poverty (median 26%; IQR 15%-42%), low rates of education attainment (median with high school degree 86%; IQR 78%-91%), and high rates of vacant housing (median 13%; IQR 8%-19%). The deprivation index is scaled between 0 and 1 with higher values indicative of more socioeconomic deprivation. In our population, the deprivation index median was 0.45 (IQR 0.36-0.61). When the sample was categorized into three deprivation groups (low < 25th percentile, medium between 25th and 75th, and high >75th percentile), we found trends toward associations with utilization and adherence measures (Table 1). Conclusion A majority of our SCD patients live in neighborhoods with stark socioeconomic challenges and barriers which have been shown to negatively affect health outcomes. There appears to be a significant trend towards increased utilization among those living in more deprived neighborhoods, although, the link with adherence was less clear. The latter finding, indicative of similar HbF levels across deprivation groupings, may be the result of efforts made by our multidisciplinary comprehensive care team to optimize care for all patients regardless of socioeconomic challenges. The data presented here are novel and likely representative of socioeconomic challenges of most SCD patients living in the US. Future, larger, multi-center studies should focus on identifying and addressing social determinants of health within this population. Disclosures No relevant conflicts of interest to declare.

Introduction Generative algorithms have been used for many years by computer musicians like Iannis Xenakis (Xenakis) and David Cope (Cope) to make complex electronic music composition. Advances in computer technology have made it possible to design music algorithms based upon specific pitch, timbre and rhythmic qualities that can be manipulated in real time with a simple interface that a child can control.jam2jam (Brown, Sorensen, & Dillon) is a shareware program developed in java that uses these ideas and involves what we have called Networked Improvisation, which ‘can be broadly described as collaborative music making over a computer network’ (Dillon & Brown). Fig. 1: jam2jam interface (download a shareware version at http://www.explodingart.com/.) Jamming Online With this software users manipulate sliders and dials to influence changes in music in real time. This enables the opportunity for participants to interact with the sound possibilities of a chosen musical style as a focused musical environment. Essentially by moving a slider or dial the user can change the intensity of the musical activity across musical elements such as rhythm, harmony, timbre and volume and the changes they make will respond within the framework of the musical style parameters, updating and recomposing within the timeframe of a quaver/eighth note. This enables the users to play within the style and to hear and influence the shape and structure of the sound. Whilst real time performance using a computer is not new, what is different about this software is that through a network users can create virtual ensembles, which are simultaneously collaborative and interactive. jam2jam was developed using philosophical design principals based on an understanding of ‘meaning’ gained by musicians drawn from both software, live music experiences (Dillon, Student as Maker) and research about how professional composers engage with technology in creative production (Brown, Music Composition). New music technologies have for centuries provided expressive possibilities and an environment where humans can be playful. With jam2jam users can play with complex or simple musical ideas, interact with the musical elements, and hear the changes immediately. When networked they can have these musical experiences collaboratively in a virtual ensemble. Background The initial development of jam2jam began with a survey of the musical tastes of a group of children between the ages of 8-14 in a multi racial community in Delaware, Ohio in the USA as part of the Delaware Children’s Music Festival in 2002. These surveys of ‘the music they liked’ resulted in the researchers purchasing Compact Discs and completing a rule based analysis of the styles. This analysis was then converted into numerical values and algorithms were constructed and used as a structure for the software. The algorithms propose the intensity of range of each style. For example, in the Grunge style the snare drum at low intensity plays a cross stick rim timbre on the second and fourth beat and at high intensity the sound becomes a gated snare sound and plays rhythmic quaver/eighth note triplets. In between these are characteristic rhythmic materials that are less complex than the extreme (triplets). This procedure is replicated across five instruments; drums, percussion, bass, guitar and keyboard. The melodic instruments have algorithms for pitch organisation within the possibilities of the style. These algorithms are the recipes or lesson plans for interactive music making where the student’s gestures control the intensity of the music as it composes in real time. A simple interface was designed (see fig. 1) with a page for each instrument and the mixer. The interface primarily uses dials and sliders for interaction, with radio buttons for timbrel/instrument selection. Once the software was built and installed students were observed using it by videotaping their interaction and interviewing both children and teachers. Observations, which fed into the developmental design, were drawn on a daily basis with the interface and sound engine being regularly updated to accommodate students and teacher requirements. The principals of observation and analysis were based upon a theory of meaningful engagement (Brown, “Modes”, Music Composition; Dillon, “Modelling”, Student as Maker). These adjustments were applied to the software, the curriculum design and to the facilitators’ organisational processes and interactions with the students. The concept of meaningful engagement, which has been applied to this software development process, has provided an effective tool for identifying the location of meaning and describing modes of creative engagement experienced through networked jamming. It also provided a framework for dynamic evaluation and feedback which influences the design with each successive iteration. Defining a Contemporary Musicianship Networked improvisational experiences develop a contemporary musicianship, in which the computer is embraced as an instrument that can be used skillfully in live performance with both acoustic/electric instruments and other network users. The network itself becomes a site for a virtual ensemble where users can experience interaction between ‘players’ in real time. With networked improvisation, cyberspace becomes a venue. Observations have also included performances between two distant locations and ones where computers on the network simultaneously ‘jammed’ with ‘live’ acoustic performers. The Future The future of networked jamming is exciting. There is potential for these environments to replicate complex musical systems and engage participants in musical understandings, linking gesture and sound with concepts of musical knowledge that are constructed within the algorithm and the interface. The dynamic development of Networked Jamming applications involve designs which apply philosophical and pedagogical principles that encourage and sustain meaningful engagement with music making. These are sufficiently complex to allow the revisiting of musical experiences and knowledge at increasingly deeper levels. Conclusion jam2jam is a proof of concept model for networked jamming environments, where people and machines play music in collaborative ensembles. Network jamming requires a contemporary musicianship, which embraces the computer as an instrument, the network as an ensemble and cyberspace as venue for performance. These concepts facilitate access to the ensemble performance of complex musical structures through simple interfaces. It provides the opportunity for users to be creatively immersed in the simultaneous act of listening and performance. jam2jam represents an opportunity for music-makers to have interactive experiences with musical knowledge in a way not otherwise previously available. It enables children, adults and the disabled to enter into a collaborative community where technology mediates a live ensemble performance. The experience could be an ostinato pumping out hip-hop or techno grooves, a Xenakis chaos algorithm, or a minimal ambient soundscape. With the development of new algorithms, a sample engine and creative interface design we believe this concept has amazing possibilities. The real potential of this concept lies in the access that the users have to meaningful engagement with ensemble performance in the production of music, in real time, even with limited previous experience or dexterity. References Brown, A. “Modes of Compositional Engagement.” Paper presented at the Australasian Computer Music Conference-Interfaces, Brisbane, Australia. 2000. ———. Music Composition and the Computer: An Examination of the Work Practices of Five Experienced Composers. Unpublished PhD, University of Queensland, Brisbane, 2003. ———, A. Sorensen, and S. Dillon. jam2jam (Version 1) Interactive generative music making software. Brisbane: Exploding Art Music Productions, 2002. Cope, D. “Computer Modelling of Musical Intelligence in EMI.” Computer Music Journal 16.2 (1992): 69-83. Dillon, S. “Modelling: Meaning through Software Design.” Paper presented at the 26th Annual Conference of the Australian Association for Research in Music Education, Southern Cross University Tweed Heads, 2004. ———, and A. Brown. “Networked Improvisational Musical Environments: Learning through Online Collaborative Music Making.” In Embedding Music Technology in the Secondary School. Eds. J. Finney & P. Burnard. Cambridge: Continuum Press, In Press. Dillon, S. C. The Student as Maker: An Examination of the Meaning of Music to Students in a School and the Ways in Which We Give Access to Meaningful Music Education. Unpublished PhD, La Trobe, Melbourne, 2001. Xenakis, I. Formalized Music. New York: Pendragon Press, 1991. Citation reference for this article MLA Style Dillon, Steve. "Jam2jam: Networked Jamming." M/C Journal 9.6 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0612/04-dillon.php>. APA Style Dillon, S. (Dec. 2006) "Jam2jam: Networked Jamming," M/C Journal, 9(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0612/04-dillon.php>.

A deep and innovative partnership is being co-created between the Ohio University Scripps Schools of Journalism and its alumni in the Cincinnati area with the Community Learning Center Institute, and the teachers, partners, and students at the Oyler Community Learning Center. This chapter will provide insight and practical lessons for the engagement process and infrastructure that is necessary for the development and sustainability of genuine, lasting, and transformative university–school partnerships.