Ushering in the Soundscape: For a Poetics of Listening across Time and Space

Remapping the literary canon through listening practices means giving the aural dimension of poetry, prose, or simply language a fascinating chance to match the wonders of visual representation. Fiction and storytelling are actually strongly rooted in the universe of sounds and they often involve something very similar to acousmatics, sound design, soundmarks, and sound icons. Indeed, every text is a soundscape, whether the sounds it contains be realistic, symbolic, or imaginary. The soundscape thus becomes a fertile multifaceted area of intersection between disciplines, since it connects the present and the past, personal experiences and collective drama in times of radical change

Evaluating the prevalence and dimensions of poetry interventions to enable change and transformation in organizations

Today, organizations and their employees operate in times of increased complexity, ambiguity, and constant change. Traditional methods for enabling change and transformation are no longer sufficient to generate alignment and shared understanding to create adaptive ways of working. Organizations must identify new tools when engaged in change and transformation. Poetry, a time-honored practice, is an unconventional choice for organizational interventions. Still, it may be a solution for organizations seeking to unstick, reframe, and pivot quickly toward a new and shared reality. This study evaluated the practice and dimensions of poetry interventions used by change practitioners when enabling change and transformation in organizations. The literature review explored the history of poetry to demonstrate its enduring value across time, cultures, and languages. It explored the practical components of poetry, the power of storytelling, and its ability to move and evoke an emotional effect in humans. Also, it examined the modern-day change in the corporate world and the role of sensemaking amid change. Finally, it explored the intersection of poetry and the modern corporate world. This study used a qualitative method design and gathered data across nine interviews with change practitioners. This method explored an intervention’s characteristics, conditions, and results. Engagements with interview participants covered ten core questions. Key themes are organized around intellectual, pleasure, emotional, and awe-inspiring aspects that can be attributed to the aesthetic experience (Csikszentmihalyi & Robinson, 1990). There is a cognitive experience for those who engage with poetry that can be attributed to poetry’s construct and the human system. Poetry can be a pleasing exercise for its audiences leading to active listening, engagement, and diverse thinking. An emotional response can be a natural reaction to poetry, and this study’s interviewees recounted an emotional experience for their intervention participants and themselves. Finally, the sense of awe. The aesthetic experience is described as transcendental and applies to a poetic experience, according to this study’s research. A summary of the study is offered, including recommendations, limitations of the study, and suggestions for future studies

Exploring the Ways Arts and Culture Intersect with Public Safety: Identifying Current Practice and Opportunities for Further Inquiry

This report describes the range of activities at the intersection of public safety and arts and culture, outlines a theory of change, and provides recommendations for further consideration. Through interviews with experts in the field, this research found that art in the public safety sector promotes empathy and understanding, influences law and policy, provides career opportunities, supports well-being, and advances the quality of place

This music crept by me upon the waters” : The Musical Quality of Eliot’s The Waste Land and Four Quartets

Zadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 dofinansowane zostało ze środków MNiSW w ramach działalności upowszechniającej nauk

A voice for the voiceless: lessons from a Hmong community's approach to music and self-expression

Since the turn of the century, the world has witnessed a rise in violence promulgated on American soil. From terrorism to bullying, citizens across the United States are left wondering, "What’s next or what can I do about it?" I imagine that I am not alone in feeling powerlessness, out of control, and sometimes apathetic about the constant newsfeed heralding bad news both at home and abroad. With this kind ofuncertainty, it is no surprise that our students might feel just as overwhelmed and confused as we teachers. What, then, can music educators do to be a voice for and with students and how will their songs be a voice for those who will not or cannot sing songs of their own? This essay is an account of how I connect what I learned in a Hmong community of rappers and poets to music education, what critical pedagogy might mean for music educators, and how teachers can employ "voice for the voiceless" strategies with their ensemble or general music students

A Typographic Dilemma: Reconciling the old with the new using a new cross-disciplinary typographic framework

Current theory and vocabulary used to describe typographic practice and scholarship are based on a historically print-derived framework. As yet, no new paradigm has emerged to address the divergent path that screen-based typography is taking from its traditional print medium. Screen-based typography is becoming as common and widely used as its print counterpart. It is now timely to re-evaluate current typographic references and practices under these environments, which introduces a new visual language and form. This paper will attempt to present an alternate typographic framework to address these growing changes by appropriating concepts and knowledge from different disciplines. This alternate typographic framework has been informed through a study conducted as part of a research Doctorate in the School of Design at Northumbria University, UK. This paper posits that the current typographic framework derived from the print medium is no longer sufficient to address the growing differences between the print and screen media. In its place, an alternate cross-disciplinary typographic framework should be adopted for the successful integration and application of typography in screen-based interactive media. The development of this framework will focus mainly on three key characteristics of screen-based interactive media ¬¬– hypertext, interactivity and time-based motion – and will draw influences from disciplines such as film, computer gaming, interactive digital arts and hypertext fictions

Avatars and Lebensform: Kirchberg 2007

Several years ago, after a decade of experiments in the software industry, I returned to academia and found philosophy colleagues troubled by the term “virtual reality” — a term which enjoys wide usage in the ?eld of immersive computing but which raises hackles in post-metaphysical philosophers. Some vocabulary in this paper may create similar unease, so a warning may be in order. What makes sense to software engineers may for philosophers carry too much baggage. Words like “empathetic” or “empathic” may cause similar discomfort for those with an allergy to Romanticism. While these adjectives associated with poets like Wordsworth, the term “empathy” belongs equally to software designers and video-game artists who use it to describe the opposite of “?rst-person shooter” software. Empathic, as opposed to “shoot ‘em up” software, encourages the exchange of viewpoints beyond ?rst-person perspective and may even merge several perspectives. Rather than deepen a user’s ?rst-person point-of-view, empathic software offers a socializing experience, and in fact, is sometimes called “social” software, “Net 2.0,” or “computer supported cooperative work.