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Music Technology meets University 3.0: Music Education in the Era of Co-Creation
No full textThis chapter will bring together some key thematic discourses from the last 10 years of higher education policy and creative industry strategy and explore these in the context of the field of music technology. These discourses are often driven by ideological underpinnings to do with our perception of who owns knowledge, who has access to it and how we transmit it in our learning environments. This, in turn, influences the creative potential of the next generation of talent and, with that, the creative sector’s potential to innovate.
The chapter uses two concepts as clarifying lenses, making visible some fundamental shifts happening already all around us. One lens uses the conceptualisation of Luigi Sacco’s Culture 1.0 to 3.0 and attends to the sector, and the other lens uses a conceptual framework of my own, that of University 1.0 – 3.0. Within our academic communities of practices, we sometimes forget how much we are influenced, nudged, and afforded to shape our activities according to larger policy contexts; these lenses may provide some clarifying perspectives to consider where we invest our efforts to shape the future of music technology education in our universities
Qualitative Evidence Synthesis in Health Psychology
No full textQualitative evidence synthesis (QES) provides a high-quality review of the qualitative evidence base, succinctly capturing and illustrating the complexity of the subjective lived experiences of people and communities. • QES and meta-synthesis have come to be used as umbrella terms for the systematic review and synthesis of qualitative research. • QES in health psychology usually involves interpretative synthesis to more fully understand the lived experience of a particular condition used to develop an intervention for that patient group. • QES can aggregate evidence to inform policy or the development of good practice guidance. • Guidance is available to support each stage of conducting a QES from a variety of sources including the World Health Organization, Cochrane, EQUATOR. Abstract Qualitative evidence synthesis (QES) provides a high-quality review of the qualitative evidence base, which are “uniquely situated to capture the full complexity of the subjective, lived experiences of people and communities” (WHO, 2021, p.2). In this chapter, we provide an overview of the history and contemporary development of QES. The proliferation of qualitative research in recent decades has resulted in a need to find systematic ways to synthesize qualitative research evidence. Such syntheses have value in health psychology and health sciences, as outcomes can inform researchers, clinicians, and policy makers to ensure evidence-based decision-making. QES has a long history starting with meta-ethnography and developing through various forms of narrative and interpretative synthesis. To guide health psychologists in their endeavour to complete their own QES, it is useful to draw on recent guidance from the World Health Organization which describes a step-by-step process. This chapter guides readers through topic selection, research question development, search strategies, critical appraisal, data extraction, evidence synthesis and reporting. In addition to explaining these processes, we highlight areas of challenge and debate and direct readers to resources to further help the development of their own QES projects. New approaches and perspectives on QES continue to develop and grow. Therefore, we conclude the chapter by looking forward towards more creative examples of evidence synthesis. We present our own worked examples of a Foucauldian-inspired Media Framing Analysis, and a poetic synthesis of caring experiences in the hope of inspiring new ways of thinking about QES
The IOPC is independent and makes its decisions entirely independently of the Police and government - or does it?
No full textFormally known as the IPCC, the Independent Office for Police Conduct (IOPC) is a non-departmental public body which oversees complaints in the England and Wales criminal justice system. The organisation investigates complaints and misconduct matters against the Police, Home Office, HMRC and other government organisations. All 43 Police forces are legally obliged to directly refer some instances of corruption, misconduct, criminal offences, death and injury to the IOPC (IOPC, 2022a).
Misconduct is defined under the Police (Conduct) Regulations (2020) as "a breach of the standards of Professional Behaviour that is so serious as to justify disciplinary action". Complaints or conduct issues can include corruption, death or injury and can include 'super complaints' made by public organisations that highlight problems in policing that can affect public confidence.
As its name suggests, the IOPC's core aim is to operate "Independently of the police and government" (IOPC, 2022b:6), free from external influence, to make decisions based solely on the evidential aspects of each case. However, the question of the IOPC's true independence endures a complex history and a challenging future
Perennial Exhibition
No full textThe Wall In The Head #3 included in Perennial group show at Haarlem Artspace, Wirksworth, 20th June - 13th July 202
Patriarchy, Superstition and the Feminisation of Evil
No full textThis chapter critically examines how patriarchal ideologies and superstitions intersect to make women the primary targets of witchcraft accusations. Focusing on the cultural and societal mechanisms that frame the concept of evil through a gendered lens, this analysis reveals how patriarchal control is exercised by casting women as scapegoats for malevolent forces
Emergency Staff Meeting
No full textThe research focuses on how institutions and their employees navigate the continual state of flux incurred by operating in contemporary Britain’s Neo-liberal political landscape, and the pressures that this entails. This is grounded in the instability created as a consequence of the frequency of organisational changes (restructures and mergers) seemingly necessitated by the marketisation of the sector.
The project utilises forms of narrative storytelling, humour and satire within a contemporary art context.
One area of interest lies in the relationship between “the institution” and “the individual” and the synergies or tensions that lie between them. This recognises that the institution operates as a form of power and authority, a seemingly homogenous entity, as well as a place of belonging, but it is also experienced as both faceless and ‘other’, as having agency and autonomous in its actions.
The research both utilises autoethnography as method, and draws on debates surrounding the implications of its usage in artistic practices, specifically, the relation to the authors’ own employment within the very structure they critique (relational ethics).
The UK University system is being ruthlessly administered – to be more efficient, economical, marketable, transactional. It has adapted the strategies and languages of corporate business in order to be efficient and competitive in the marketplace.
The use of generative AI for us was seen as appropriate in the context of the mismatch between certain views of an art school and the commercial systems and agendas it now has to operate within. Furthermore, the notion of the University as an entity, in and of itself, is comparable to the anthromoprhisation of ai systems, providing both with a sense of independent agency.
The dataset, that is provided at the outset of the model training, is limited to the imagery available online, which is, in itself, a resource offered by dominant commercial cultural forces. Some examples generated had slightly garbled ‘iStock’ watermarks on them, for example. As Hito Steyerl argues, the ‘invitation’ for artists to use ai can be seen as a form of onboarding for commercial entities.
The dialogue recognises the reality of the precarious positions that post-92 institutions find themselves in, in a neo-liberal marketized education sector. The finances of institutions are tied to recruitment which in turn is tied to an ability to market the value/quality of the education provided
English in Counseling Psychology
No full text"English in Counseling Psychology," authored by Dr. Tahereh Movahhedi and Dr. Seyed Ali Sadegh Zadeh, is a comprehensive educational resource designed to enhance the English proficiency of students and professionals in the field of counseling psychology. This book bridges the gap between language learning and specialized knowledge, providing readers with the essential vocabulary, key concepts, and practical communication skills needed for effective professional practice. Each chapter covers core areas of counseling psychology, including therapeutic approaches, client-centered communication, neuroscience in mental health, trauma-informed care, and the integration of artificial intelligence in counseling. Through clear explanations, real-world examples, vocabulary exercises, and reflective questions, learners can build both their linguistic competence and professional expertise. Emphasizing ethical practices, cultural sensitivity, and evidence-based approaches, the book serves as a valuable guide for students, educators, and practitioners aiming to navigate the interdisciplinary landscape of counseling psychology with confidence and clarity
Bridging the gap: an assessment of the effectiveness of postgraduate provision in preparing students for careers in the modern music industry
No full textThe Complete University Guide lists 40 UK universities offering 74 postgraduate courses related to music technology or production (Complete University Guide, 2024). The relatively high number of these courses suggest that they are both a popular choice for students and a profitable addition to university portfolios. Some universities have closed more traditional music courses, such as musicology, composition and performance, and replaced them with music production and music technology focused alternatives. Many of the newer courses emphasise employability and are named accordingly, incorporating terms such as ‘management’ or ‘production’. Evidently, in the 17 years since Carola Boehm described music technology as “The discipline that never was” (Boehm, 2007), it has developed beyond “The discipline that became” (Boehm, Hepworth-Sawyer, Hughes, & Ziemba, 2018) into a growing number of interrelated disciplines. The implication is clear: these courses equip students with the skillsets necessary to embark on rewarding careers in the music industry. But how realistic are these claims? To what extent is the current provision of postgraduate education in music technology, production, and related disciplines preparing students for careers in the music industry? What skills do employers perceive that graduates need, and do these map to student expectations of skills and knowledge they want to acquire when choosing a degree
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