989 research outputs found
CSI : Kuhn and Latour
No full textI have been always most moved by those whose views I have ended up opposing. I say
'ended up' because the views are typically ones in which I originally invested considerable
study and interest. But then a version of the 'familiarity breeds contempt' principle
sets in, and my intellectual immune system generates antibodies that ward off later, more
virulent strains of such thinkers' thoughts. So fortified, I welcome the opportunity to
reflect on the significance of Kuhn (1962) and Latour (1987), who have been influential
figures in my thinking about science and technology studies (STS) ever since I began to
encounter the field as a graduate student in the early 1980s. In fact, I had read The Structure
of Scientific Revolutions (SSR) as part of Columbia University's required general education
course, 'Contemporary Civilization', in 1976. As for Latour's work, I first read
Laboratory Life in Mary Hesse’s MPhil seminar at Cambridge in 1980, and I remember
purchasing my copy of Science in Action (SIA) in the Brunel University bookshop shortly
after it came out in 1987. I had been there, I believe, courtesy of early Latour collaborator
Steve Woolgar. The trip also coincided with the founding of the journal Social Epistemology
at the Taylor & Francis headquarters in London. In both cases, my first impression was
very favourable – in a way that did not extend to the rest of their works
Swamp dredge: Research into grunge
No full textFor this project I have researched grunge music and created a body of work influenced by this genre. During my extended contextual research into the genre, I looked at both the artists and producers. I wrote/co-wrote the songs, played some of the instruments and produced the recordings. These are now available for download on www.soundcloud.com/swampdredg
Sex differences in Cognitive Abilities Test scores: a UK national picture
No full textBackground and aims. There is uncertainty about the extent or even existence of sex differences in the mean and variability of reasoning test scores ( Jensen, 1998; Lynn, 1994, ; Mackintosh, 1996). This paper analyses the Cognitive Abilities Test (CAT) scores of a large and representative sample of UK pupils to determine the extent of any sex differences.
Sample. A nationally representative UK sample of over 320,000 school pupils aged 11-12 years was assessed on the CAT (third edition) between September 2001 and August 2003. The CAT includes separate nationally standardized tests for verbal, quantitative, and non-verbal reasoning. The size and recency of the sample is unprecedented in research on this issue.
Methods. The sheer size of the sample ensures that any sex difference will achieve statistical significance. Therefore, effect sizes (d) and variance ratios (VR) are employed to evaluate the magnitude of sex differences in mean scores and in score variability, respectively.
Results. The mean verbal reasoning score for girls was 2.2 standard score points higher than the mean for boys, but only 0.3 standard points in favour of girls for non-verbal reasoning (NVR), and 0.7 points in favour of boys for quantitative reasoning (QR). However, for all three tests there were substantial sex differences in the standard deviation of scores, with greater variance among boys. Boys were over represented relative to girls at both the top and the bottom extremes for all tests, with the exception of the top 10% in verbal reasoning.
Conclusions. Given the small differences in means, explanations for sex differences in wider domains such examination attainment at age 16 need to look beyond conceptions of `ability'. Boys tend to be both the lowest and the highest performers in terms of their reasoning abilities, which warns against the danger of stereotyping boys as low achievers
Sounds Local, 1998 January 10
No full textInterview with author William McCranor Henderson on his book, I, Elvis: Confessions of Counterfeit King, about Elvis Presley impersonators; Ginger Miles reports on the artists, writers, musicians, and more at the Chelsea Hotel in New York City; Titanic (film) review by WHQR's film commentator, Steve Taylor; Overview of upcoming events on the cultural calendar
Faith in Teaching Podcast (episode 4)
No full text(Note: Recorded in 2019) Steve McMullen (co-author of Digital Life Together: The Challenge of Technology for Christian Schools) discusses his research on the effects of the amount and type of screen time among high school students who use school-issued laptops
Finding the Way; it fit him to a "T": Steve Lacy and Thelonious Monk's "Pannonica"
No full textIn this thesis I provide a biography of soprano saxophonist Steve Lacy, a discussion of the impact that the music and the man Thelonious Monk had on Steve Lacy and how it influenced Lacy’s performance style. I provide historical and analytical commentary about the song, “Pannonica,” and the woman, the Baroness Kathleen Annie Pannonica Rothschild de Koenigswarter, who inspired its composition by Thelonious Monk. I follow with a transcription and analysis of Lacy’s performance of “Pannonica” from his 1965 record, Disposability. The transcription of the performance, including the bass line as played by Kent Carter appears in the appendix along with a comparison of Lacy’s and Monk’s performances of the head and out-chorus of the song and a chorus-by-chorus comparison of Lacy’s performance.
The appendices also include interviews with several performers who have had a significant relationship with Lacy or the music of Thelonious Monk. These interviews help to provide further insights into the significant contribution Lacy made to creative music during his career. A bibliography of articles about Lacy sourced from the Jazzinsitut Darmstadt about Lacy as well as a complete discography are also included.
Lacy was a multi-faceted artist, a polymath with a keen interest in music, art and literature. He had many collaborations with writers, artists and dancers. While not the focus of this thesis, the breadth of Lacy’s knowledge and passions are obvious in a number of the sources I have consulted and quoted and form an important subtext of this work.M.A.Includes bibliographical reference
La vie qui bat: Steve Reich’s Drumming and Dance Choreography
No full textThe music of Steve Reich has been widely written about. In this article I will focus on choreographies set to live performances of Drumming (1971). Drumming is perhaps Reich’s most important early work and a culmination of his various musical explorations and compositional techniques. I have selected three choreographers: Laura Dean, creator of the first choreography set to the music of Drumming (1972); Anne Teresa De Keersmaeker, a choreographer whose works such as Drumming (1998) share Reich’s underlying principle of structures as processes; and Ginette Laurin, whose La vie qui bat (1999) was a joint production between Montreal dance company O Vertigo and the Société de musique contemporaine du Québec (smcq). As this issue celebrates smcq’s 50th anniversary, this article will center on the making and performance practice of La vie qui bat. In preparing this article, the author interviewed Russell Hartenberger (Steve Reich and Musicians), Ginette Laurin, and Walter Boudreau (Artistic Director of the smcq).La musique de Steve Reich a été largement commentée. Dans cet article, je me concentrerai sur les mises en chorégraphie des performances en direct de Drumming (1971). Drumming constitue peut-être la première oeuvre la plus importante de Reich et l’aboutissement de ses diverses explorations musicales et techniques de composition. J’ai choisi trois chorégraphes : Laura Dean, créatrice de la première mise en chorégraphie de la musique de Drumming (1972) ; Anne Teresa De Keersmaeker, une chorégraphe dont les travaux tels que Drumming (1998) partagent avec Reich son principe sous-jacent des « structures comme processus » ; et Ginette Laurin, dont La vie qui bat (1999) était une production conjointe entre la compagnie de danse montréalaise O Vertigo et la Société de musique contemporaine du Québec (smcq). Ce numéro célébrant le 50e anniversaire de la smcq, cet article se concentrera sur la réalisation et l’interprétation de La vie qui bat. En préparant cet article, l’auteure s’est entretenue avec Russell Hartenberger (Steve Reich and Musicians), Ginette Laurin et Walter Boudreau (directeur artistique de la smcq)
I love my India
No full textBook review of 'I love my India' by Indian Author and designer Avinash Veeraraghava
THE PLACE FROM WHICH I SEE: a practice-led investigation into the role of vision in understanding solo performance improvisation as a form of composition.
No full textThe Place From Which I See is a practice-led investigation into performance improvisation in which I have asked the question: ‘What is the role of vision in understanding solo performance improvisation as a form of composition?’ The research is encompassed and presented in two different, but interwoven, modalities, which function as a total thesis. These are: (1) a written thesis, which is divided into the four main chapters outlined in the Introduction and (2) a sharing of studio-based investigations and performances - included on the accompanying DVD - and a live performance. This sharing of practical work is designed to illuminate how the practice has functioned as a methodology for research and as a means of embodying and making public the research outcomes. Together, it is intended that these different articulations form a clear and useful prism through which the practical and theoretical terrain of the project can be distilled.
In this thesis I argue that working pragmatically and creatively with vision within the specificity of the immediate space and situation of performance can function as an efficacious means of understanding solo improvised performance as a form of composition, and the research offers five strategies that collectively function as a template of approaches for generating and shaping improvisational material. The strategies have been developed through instigating a practice/theory feedback loop with the phenomenology and artistic paradigm offered by French philosopher Maurice Merleau-Ponty. I introduce his model of painterly composition as a particular rubric of what I call vision/action responsiveness against which I situate my own compositional approaches. I also outline five of the key ideas that infuse both this rubric and his phenomenology more generally - the significance of the entwining of a ‘questioning’ vision with movement; the chiasm; the visible; the ‘invisible’ and the ‘I can’ - and illuminate the way in which the practice has been developed and refined through a pragmatic interaction with these ideas. The thesis also outlines how these aspects of the phenomenological discourse have been re-framed through this interaction with the practical investigations and I situate my working of Merleau-Ponty’s ideas within the context of other treatments within both dance and theatre. More broadly, I relate this doctorate’s methodological approach and aesthetic concern with vision as a core compositional tool in and for performance to the compositional strategies, aesthetics, methodologies and philosophies of a range of other practitioners, locating the research within the wider field of improvisational performance. As an outcome, this research offers the template of strategies, layered with my particular re-framings of Merleau-Ponty’s phenomenology, as an original contribution to the practice and discourse of solo performance improvisation
New Data and Output Concepts for Understanding Productivity Trends
No full textThe present study is the second is a series of three papers devoted to issues in the measurement of productivity and productivity growth. The contributions of the present paper are three. First, it introduces a new approach to measuring industrial productivity based on income-side data that are published by the Bureau of Economic Analysis (BEA). The data are internally consistent in that both inputs and outputs are income-side measures of value added, whereas the usual productivity measures combine expenditure-side output measures with income-side input measures. Second, because of interest in the "new economy," we have also constructed a set of new- economy accounts. For the purpose of this study, we define the new economy as machinery, electric equipment, telephone and telegraph, and software. Finally, because of concerns about poor deflation in the current output measures, this study constructs a new output concept called "well-measured output," which includes only those sectors for which output is relatively well measured. We present a brief summary of the behavior of the alternative measures.Productivity, new economy, price measurement, well-measured output
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