Hearing Things: Music and Sounds the Traveller Heard and Didn’t Hear on the Grand Tour

For Charles Burney, as for other Enlightenment scholars engaged in historicising music, the problem was not only how to reconstruct a history of something as ephemeral as music, but the more intractable one of cultural boundaries. Non-European music could be excluded from a general history on the grounds that it was so much noise and no music. The music of Egypt and classical antiquity, on the other hand, were likely ancestors of European music and clearly had to be accorded a place within the general history. But before that place could be determined, Burney and his contemporaries were faced with a stunning silence. What was Egyptian music? What were its instruments? What its sound? The paper examines the work of scholars like Burney and James Bruce and their efforts to reconstruct past music by traveling to exotic places. Travel and a form of historical reenactment emerge as central not only to eighteenth-century historical method, but central, too, to the reconstruction of past sonic worlds. This essay argues that this method remains available to contemporary scholars as well

Iterative in situ click chemistry creates antibody-like protein-capture agents

Iterative in situ click chemistry (see scheme for the tertiary ligand screen) and the one-bead-one-compound method for the creation of a peptide library enable the fragment-based assembly of selective high-affinity protein-capture agents. The resulting ligands are water-soluble and stable chemically, biochemically, and thermally. They can be produced in gram quantities through copper (I)-catalyzed cycloaddition

Impact of opioid-free analgesia on pain severity and patient satisfaction after discharge from surgery: multispecialty, prospective cohort study in 25 countries

Background: Balancing opioid stewardship and the need for adequate analgesia following discharge after surgery is challenging. This study aimed to compare the outcomes for patients discharged with opioid versus opioid-free analgesia after common surgical procedures.Methods: This international, multicentre, prospective cohort study collected data from patients undergoing common acute and elective general surgical, urological, gynaecological, and orthopaedic procedures. The primary outcomes were patient-reported time in severe pain measured on a numerical analogue scale from 0 to 100% and patient-reported satisfaction with pain relief during the first week following discharge. Data were collected by in-hospital chart review and patient telephone interview 1 week after discharge.Results: The study recruited 4273 patients from 144 centres in 25 countries; 1311 patients (30.7%) were prescribed opioid analgesia at discharge. Patients reported being in severe pain for 10 (i.q.r. 1-30)% of the first week after discharge and rated satisfaction with analgesia as 90 (i.q.r. 80-100) of 100. After adjustment for confounders, opioid analgesia on discharge was independently associated with increased pain severity (risk ratio 1.52, 95% c.i. 1.31 to 1.76; P < 0.001) and re-presentation to healthcare providers owing to side-effects of medication (OR 2.38, 95% c.i. 1.36 to 4.17; P = 0.004), but not with satisfaction with analgesia (beta coefficient 0.92, 95% c.i. -1.52 to 3.36; P = 0.468) compared with opioid-free analgesia. Although opioid prescribing varied greatly between high-income and low- and middle-income countries, patient-reported outcomes did not.Conclusion: Opioid analgesia prescription on surgical discharge is associated with a higher risk of re-presentation owing to side-effects of medication and increased patient-reported pain, but not with changes in patient-reported satisfaction. Opioid-free discharge analgesia should be adopted routinely

Enlightenment Orpheus : the power of music in other worlds /

Includes bibliographical references (p. [209]-243) and index.Argonaut Orpheus -- Music's empire -- Anti-Orpheus

Experimental Humanities

Across the humanities and in the performative arts the experiment — commonly associated with the empirical sciences — is gaining ground. These diverse endeavours understand the experiment as a formalized (re)staging of an encounter that may produce unforeseen results. Such encounters put greater emphasis on the research environment and foreground the participation of previously neglected human and non-human actors. As a consequence, increasing attention is paid to the constitution, agency, and surfaces of objects of knowledge. The lectures and discussion aim to examine the relation, distinction, and interplay between experimental practices, laboratory settings, and creative processes, as well as the status of repetition, restaging, and novelty within knowledge production in the humanities and the performative arts. Nishant Shah Error 400 &#8211; Bad Request: Authorship, Authority, Authenticity in the Experimental Setup The model of the experiment often comes with the imagined attributes of neutrality and openness, particularly made glamorous by the promise of failure. Ideas of replication, verification, and scalability further reinforce the idea of the experiment as a pure form of knowledge production that can be constructed and repeated as a universal given, thus offering a truth that can be evidenced. Shah proposes that experimental setups depend upon the political, contested, and exclusionary constructions of authorship, authority, and authenticity, which are hidden in the description of the experimental setup. Looking at a postcolonial feminist history of digital technologies, computational networks, and cybernetics, this talk will dismantle the experimental setup by looking at the conditions of asking questions and the need to expand the idea of the experiment beyond the logistics of apparatus, process, and replication. Nishant Shah is the Vice-President of Research at ArtEZ University of the Arts and a research mentor with the Hivos Foundation’s ‘Digital Earth’ programme. His current preoccupation is with questions of &#8216;aesthetic warfare&#8217; that examine digital technologies, informational networks, and design practices that shape current post-truth moments and their implications for social justice and human rights interventions. Vanessa Agnew Lines of Sight: Excursions in Seeing, Feeling, and Knowing The talk examines the use of historical reenactment, virtual reality (VR), machine learning, and big data in the production of knowledge about the past. Dealing with museum and art exhibits and documentary shorts such as Nazi VR and Triple Chaser, Agnew examines the ways in which new technologies are marshalled and older ones repurposed in order to gather and present compelling historical evidence. Against this backdrop, the talk asks what space remains for interpretation and the articulation of feeling. Is history&#8217;s &#8216;affective turn&#8217; in the process of being superseded?  Vanessa Agnew is a professor of English at the University of Duisburg-Essen and senior fellow at the Australian National University. Her Enlightenment Orpheus: The Power of Music in Other Worlds (2008) won the Oscar Kenshur Prize for Eighteenth-Century Studies and the American Musicological Society’s Lewis Lockwood Award. She co-organizes the Critical Thinking programme of the Academy in Exile, which provides fellowships for scholars-at-risk.Vanessa Agnew and Nishant Shah, Experimental Humanities, lectures, ICI Berlin, 14 November 2019 <https://doi.org/10.25620/e191114