9,098 research outputs found
Faster than the blink of an eye
No full textFrancis P Keenan, Mihalis Mathioudakis and David B Jess discuss high-speed observations of the solar atmosphere made possible with ROSA, the "Rapid Oscillations in the Solar Atmosphere" imager built by Queen's University Belfast.</p
The invisible artist: Arrangers in popular music (1950-2000): Their contribution and techniques
Full text linkThis thesis was submitted for the degree of Doctor of Philosophy and was awarded by Brunel University.This thesis is based on the research conducted by the author for the series,
Richard Niles' History of Pop Arranging, seven thirty-minute documentary
programmes for BBC Radio 2, researched, written and presented by the author and
broadcast in 2003. It also draws on interviews conducted by the author (and other
research) between 2002 and 2007 both for the radio series and for this thesis and on
the author's experience as a professional arranger in popular music working with
many of the genre's significant recording artists including Paul McCartney, Ray
Charles, Cher, Tina Turner, Westlife, Tears For Fears, Dusty Springfield, James
Brown, Pet Shop Boys, Kylie Minogue and producers including Trevor Hom, Steve
Lipson, Steve Mac and Steve Anderson.
It will be argued that the role of the arranger in popular music has often been
undervalued and that during a critical period of popular music history (1950-2000)
arrangers played a significant part in the evolution of musical content. This thesis is,
to the best of the author's knowledge, the first time (apart from the above mentioned
documentary) the subject has ever been examined. The arranger is "invisible" because musical arrangers are often un-credited on
record liner notes or in books or articles concerning popular music. A considerable
amount of research has been necessary to determine who wrote many of the
arrangements considered herein. Motown's Berry Gordy purposely kept the names of
musicians and arrangers off the records because he feared others might 'poach' the
trademark 'Motown Sound'. Other record labels considered the job of the arranger to
be reminiscent of an earlier era, diluting the Rock 'n' Roll image of emotion and
spontanaeity they wished to promote. Some producers and recording artists disliked
sharing credit for their work. Motown arranger David Van dePitte told the author that
arranging was "thankless and anonymous - a very service-oriented profession where
others often take credit for what you've done." Arranging has therefore remained an
intrinsically unseen art created by 'invisible' artists. By analyzing many recordings,
revealing the techniques and concepts they have used in their work to create popular
records, arrangers and their art will be made more 'visible'
An Interview with Tony David Sampson: Author of Virality: Contagion Theory in the Age of Networks
No full textTony D. Sampson is Reader in Digital Culture and Communication in the School of Arts and Digital Industries (ADI) at the University of East London, where he directs the EmotionUX lab, supervising research on the cognitive, emotional, and affective aspects of user experience. In 2013, he co-founded Club Critical Theory, an organization dedicated to the application of critical theory in everyday life in Southend-on-Sea, Essex. Tony is the author of Virality: Contagion Theory in the Age of Networks and The Assemblage Brain: Sense Making in Neuroculture, both from the University of Minnesota Press. He blogs at viralcontagion.wordpress.com.
The editors of this special NANO issue are delighted to have the opportunity to talk with Tony about how his work touches on issues of imitation and contagion—a loaded term unpacked within his 2012 book
David Gregory
No full textPhotograph - David Gregory, member of the Book Sub-Committee, part of the Town of Athabasca 75th Anniversary Committee, Athabasca, Alberta. The Book Sub Committee produced the book "Athabasca Landing: An Illustrated History
David Audretsch: A Source of Inspiration, a Co-author, and a Friend
No full textIn this chapter, Enrico Santarelli discusses the profound impact that David had on his career. Beginning with a conference in Budapest, Santarelli and David bocame close friends and colleagues. They went on to collaborate on many papers and projects, several of which Santarelli highlights below
The integrated concurrent enterprise
No full textThesis (S.M.)--Massachusetts Institute of Technology, Dept. of Aeronautics and Astronautics; and, (S.M.)--Massachusetts Institute of Technology, Sloan School of Management; in conjunction with the Leaders for Manufacturing Program at MIT, 2003.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.Includes bibliographical references (p. 177-180).by David B. Stagney.S.M
Measurement of the ratio of branching fractions B(B0→K∗0γ )/B(B0s→φγ ) and the directCP asymmetry inB 0→K∗0γ
Full text linkThe ratio of branching fractions of the radiative B decays B0→K⁎0γ and B0s→ϕγ has been measured using an integrated luminosity of 1.0 fb−1 of pp collision data collected by the LHCb experiment at a centre-of-mass energy of s√=7TeV. The value obtained is
B(B0→K⁎0γ)B(B0s→ϕγ)=1.23±0.06(stat.)±0.04(syst.)±0.10(fs/fd),
where the first uncertainty is statistical, the second is the experimental systematic uncertainty and the third is associated with the ratio of fragmentation fractions fs/fd. Using the world average value for B(B0→K⁎0γ), the branching fraction B(B0s→ϕγ) is measured to be (3.5±0.4)×10−5.
The direct CP asymmetry in B0→K⁎0γ decays has also been measured with the same data and found to be
ACP(B0→K⁎0γ)=(0.8±1.7(stat.)±0.9(syst.))%.
Both measurements are the most precise to date and are in agreement with the previous experimental results and theoretical expectations
David B. Brownlee interviewed by Ana Tostões
Full text linkIn February 2018, Ana Tostões interviewed David Brownlee, pioneer researcher on Louis I. Kahn and an historian of modern architecture and professor of the history of art at the University of Pennsylvania, in order to debate Kahn’s realm of ideas and their contemporary significance. David Brownlee was guest curator of the exhibition Louis I. Kahn: In the Realm of Architecture (Museum of Modern Art, New York, 1992), and is co-author of the homonymous book (with David G. De Long, New York, 1991, translated into four other languages) that stands as the first worldwide comprehensive publication on Louis I. Kahn
The future of scholarly communications
Full text linkThe academic publishing industry is set to celebrate 350 years of peer-reviewed scientific journals. However, there are significant shifts in the practice of scholarship, as scholars and citizens alike participate in an increasingly digital world. Is the scholarly article still fit for its purpose in this data-driven world, with new interdisciplinary methodologies and increasing automation? How might it be enhanced or replaced with new kinds of digital research objects , so as not to restrict innovation but rather create a flourishing sense-making network of humans and machines? The emerging paradigm of social machines provides a lens onto future developments in scholarship and scholarly collaboration, as we live and study in a hybrid physical-digital sociotechnical system of enormous and growing scale.Copyright 2014 David De Roure. This is an open access article distributed under the terms of the Creative Commons Attribution Licence, http://creativecommons.org/licenses/by/4.0/ which permits unrestricted use and distribution provided the original author and source are credited. If reusing please acknowledge "Insights: the UKSG journal" as the place of first publication. Please cite using the full DOI as specified at the end of the article: De Roure, D, The future of scholarly communications, Insights, 2014, 27(3), 233–238; DOI: http://dx.doi.org/10.1629/2048-7754.17
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