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Passion, Action, and Reflection
No full textThis issue of Voices contains an intriguing range of articles, about the humanizing potential of music therapy in end of life care (Zoe Tao), sequential working memory recall in neurodivergent and neurotypical individuals (Edward Todd Schwartzberg & Michael J Silverman), the role of music listening in vibroacoustic treatment (Elsa Campbell, Birgitta Burger & Esa Ala-Ruona), the therapeutic value of recording in music therapy (Kevin Kirkland & Shannon Nesbitt), and proposed mechanisms of change in the arts-based psychotherapies (Anna Gerge, Jane Hawes, Lotti Eklöf & Inge Nygaard Pedersen). There is also a review of Elizabeth Schwartz, Sharon R. Boyle and Rebecca Engen’s Functional Voice Skills for Music Therapists (Sylka Uhlig) and – last but not least – there is a beautiful tribute to the life and work of Benedikte Scheiby (Seung-A Kim & Kenneth Aigen)
Information Specialist facing new challenges: Open science and research and scholarly publishing as new areas of expertise
No full textThe open science and research (OSR) movement has been shaping the world of scholarly communication for a few years now. In Finland, the Ministry of Education and Culture promoted research information availability and open science through the Open Science and Research Initiative. As a part of this initiative, an evaluation of the openness of Finnish research organizations was completed. The first evaluation indicated that OSR functions needed clearer guidelines and a coordinating unit to further improve the cultural maturity in Lahti University of Applied Sciences (LAMK). Furthermore, the scholarly publishing activities also needed a new home base due to organizational changes. As the information and library services had the basic understanding of scholarly publishing, different publishing channels and responsible conduct of research, it was decided that the library takes on these responsibilities.
For the new challenges, the traditional information specialist skills set needed updating. New skills were acquired via both formal and informal learning, benchmarking and trial-and-error. These new skills were immediately put to use in LAMK by creating a new open access publishing platform, organizing workshops and lectures for the staff and creating organizational guidelines for open RDI practices. The next organizational maturity evaluation ranking round proved the library’s new expertise, as LAMK climbed two levels up, being the second highest university of applied sciences in Finland.
As for the role of the information specialists, the new role as OSR experts have opened up new possibilities within the organization. They are now seen more as possible partners in different RDI activities, participating in project work and further developing the way openness is being carried out in all aspects of RDI and teaching. The paper offers a case example of how library professionals can diversify and update their skills pool and shape the future of their profession
Information Seeking MOOCs at the University of Helsinki: Interactive and Integrated
No full textThe University of Helsinki is a multidisciplinary university with about 31 300 students and 7800 staff. Our bachelor’s and master’s degree programmes were recently redesigned and started off in the autumn semester 2017. At the Helsinki University Library, this led to the reorganization of our information literacy teaching in order to be able to connect with larger amounts of students.
In autumn 2017, we launched two new MOOCs: a Finnish language one for bachelor’s level and an English version mainly for master’s level students. Currently, the MOOCs are compulsory in some study programmes and voluntary in many others. Our main goals were to make the MOOCs interactive and to collaborate with departments to get these courses integrated into their curricula at the point when students need these skills the most.
This article discusses what we have learned during the process of constructing MOOCs and how we tackled the main challenges of meaningful content, integration and interaction. The MOOCs are in continuous development based on received feedback
Shakespeare, Art and Artifice: An Interview with Stuart Sillars: In conversation with Perry McParland
Get PDFAhead of the publication of his forthcoming book, Shakespeare Seen: Image, Performance and Society (Cambridge, 2018), Stuart Sillars sat down for an interview with Perry McPartland. The discussion revisited a number of topics that Sillars has explored in his various publications on Shakespeare, including Shakespeare’s aesthetic strategies of transformation, the relationship his work takes to the visual, and the uses to which Shakespeare puts aesthetic artifice. The interview was conducted in two parts over a very nearly adequate Skype connection in the summer of 2018
Scenekunstens (for)handlingsrom etter 22. juli
Get PDFIn this article I discuss theatre’s scope of action after the 2011 terror attacks in Norway (“22. July”), with an emphasis on independent theatre, aesthetic heteronomy and the public sphere. A theatre manager’s (Jon Refsdal Moe) retrospect account of and reflections upon a case of self-censoring is the starting point for my (re-)examination of the arguments and dynamics concerning some of the most prominent contentious 22. July performances. I discuss how the controversies can be understood and dealt with, and how they are connected to theatre’s scope of action and place in society today. In my argument, I differentiate between the public sphere as an arena for discussion and debate (which theatre, as an institution, more or less has lost its impact on), and the public, conceived as an imagined community (which theatre still is strongly connected to, as assigned a publics’ symbolic space). I argue that the controversies about the 22. July performances, as well as the usage of marginal spaces, have to be understood as part of a far-reaching cultural dynamics after the terror attacks, concerning not only the arts, but numerous sectors of society, and that the performances aesthetic heteronomy requires a work- and context specific approach.In this article I discuss theatre’s scope of action after the 2011 terror attacks in Norway (“22. July”), with an emphasis on independent theatre, aesthetic heteronomy and the public sphere. A theatre manager’s (Jon Refsdal Moe) retrospect account of and reflections upon a case of self-censoring is the starting point for my (re-)examination of the arguments and dynamics concerning some of the most prominent contentious 22. July performances. I discuss how the controversies can be understood and dealt with, and how they are connected to theatre’s scope of action and place in society today. In my argument, I differentiate between the public sphere as an arena for discussion and debate (which theatre, as an institution, more or less has lost its impact on), and the public, conceived as an imagined community (which theatre still is strongly connected to, as assigned a publics’ symbolic space). I argue that the controversies about the 22. July performances, as well as the usage of marginal spaces, have to be understood as part of a far-reaching cultural dynamics after the terror attacks, concerning not only the arts, but numerous sectors of society, and that the performances aesthetic heteronomy requires a work- and context specific approach
PLURALISÉR! Det politiske potensialet i scenekunst
Get PDFThis article seeks to identify a political potential in the performing arts, through defining the social construction \u27audience\u27 as a plural form, seen in parallel to society at large and dichotomies such as active/passive, agonism/antagonism and the inherent relationship between the artwork and its spectator. Plurality as such is defended by emphasising that diversity of opinion and disagreement may be necessary for positive social development. By looking at a variety of examples of audience participation in contemporary performing arts, the article defines several modes of voluntary and involuntary participation, drawing lines to established art theories as spectator emancipation and relational aesthetics.This article seeks to identify a political potential in the performing arts, through defining the social construction \u27audience\u27 as a plural form, seen in parallel to society at large and dichotomies such as active/passive, agonism/antagonism and the inherent relationship between the artwork and its spectator. Plurality as such is defended by emphasising that diversity of opinion and disagreement may be necessary for positive social development. By looking at a variety of examples of audience participation in contemporary performing arts, the article defines several modes of voluntary and involuntary participation, drawing lines to established art theories as spectator emancipation and relational aesthetics
Fortidens fremtid: historien om scenekunstarkivet Sceneweb
Get PDFPerforming art is part of our national cultural heritage and in Norway we have good traditions for preserving the cultural heritage. For many years, however, performing arts was an art field where cultural heritage work was weak. During the last 10–15 years, this work has been strengthened. In this article, I will give an introduction to the work of a national digital performing arts archive that was developed during this period: Sceneweb – which is owned and operated by Performing Arts Hub Norway (PAHN). The Sceneweb database is a professional system adapted for the classification of performing art material. It is an object-based relational database which can function as an authority register and national standard for the recording of performing art material. In this article, I outline the choices that lie behind the development of this system, and for our national plan for the preservation and dissemination of archival material. I also explain our extensive cooperation with the National Library.Performing art is part of our national cultural heritage and in Norway we have good traditions for preserving the cultural heritage. For many years, however, performing arts was an art field where cultural heritage work was weak. During the last 10–15 years, this work has been strengthened. In this article, I will give an introduction to the work of a national digital performing arts archive that was developed during this period: Sceneweb – which is owned and operated by Performing Arts Hub Norway (PAHN). The Sceneweb database is a professional system adapted for the classification of performing art material. It is an object-based relational database which can function as an authority register and national standard for the recording of performing art material. In this article, I outline the choices that lie behind the development of this system, and for our national plan for the preservation and dissemination of archival material. I also explain our extensive cooperation with the National Library
Påvirker genetikk og sintid råmelkskvaliteten?
Get PDFI denne studien ble det undersøkt om faktorene genetikk og sintid hadde en påvirkning på kvaliteten til råmelk, den første melken kua produserer etter at kalven er født. Sintid er pausen kuer som melkes får før de skal kalve. Tidligere studier har vist at kuer med kortere sintid har dårligere råmelkskvalitet enn kuer med lengre sintid. Studier har også vist at kuer med høyere melkeproduksjon, slik som rasen høylinje, har dårligere råmelkskvalitet enn kuer med lavere melkeproduksjon, slik som rasen frisklinje. I denne studien ble det benyttet data fra 74 kuer. Samleprøver av råmelken ble sendt inn til et laboratorium, hvor råmelkskvaliteten ble analysert. Ulike faktorer som avsiningsdato, kalvingsdato og genetisk linje ble også registret. En t-test og en regresjonsanalyse viste at frisklinje har bedre råmelkskvalitet enn høylinje, og at sintiden ikke har noen sammenheng med råmelkskvaliteten. Studien ble utført med data fra NMBU, og i samarbeid med Veterinærinstituttet
Håndhygiene - er Antibac® den mest effektive bakteriedreperen?
Get PDFI dette forskningsprosjektet ble det forsøkt å påvise forskjell på desinfeksjonsmidler med ulike ingredienser, og om disse var bedre enn håndvask. Mange bruker desinfeksjonsmidler når såpe og vann ikke er tilgjengelig. Firmaet Antibac® AS produserer antibakterielle midler, og man kaller gjerne desinfeksjonsmidler for «antibac» selv om dette er et merkevare-beskyttet produkt. Desinfeksjonsmidlene brukt i prosjektet er imidlertid begge hentet fra Antibac® AS. Prosjektets forskningsspørsmål går ut på om det er forskjell på et desinfeksjonsmiddel tilsatt klorhexidin, som brukes innenfor helsesektoren, og vanlig desinfeksjonsmiddel, som selges over disk til husholdningene. Og er desinfeksjonsmidlene bedre enn såpe og vann? Forsøket ble utført ved å dyrke frem bakterier avsatt med fingre i petriskåler med kjøttpeptonagar. Deretter ble fingrene vasket i ulike midler, før de igjen ble avtrykket i nye agarskåler for å finne eventuelle resterende bakterier. Resultatene viser små eller ingen forskjeller mellom desinfeksjonsmidlene, mens etter håndvask er det betydelig flere gjenværende bakterier