Connecting and Disconnecting: How Digital Nomads Manage Work in Absence of a Workplace

This paper examines how connectivity is accomplished in absence of a workplace. Connectivity is a theoretical framework to analyze how people connect and disconnect with each other through technologies. Digital nomads travel while they work, an example of workers who do not belong to a workplace or an organization. This absence of a workplace will affect how they connect and disconnect both within their work and outside work. An interview study with a grounded theory-based analysis found six themes that describe how the digital nomads interviewed connect and disconnect: first to and from a place, second to and from a place, and third two themes on how these patterns are reinforced. This is mobilized by a sociomaterial assemblage encompassed of more than just individuals communicating through technology. Previous research has focused on this, instead of focusing on the situatedness of connectivity. This contributes to research on connecting and disconnecting in connectivity and to research on digital nomads as part of a socio technical system

Comparison between bulls of dairy breed and dairy x beef breed : consumption, growth, feed efficiency and carcass traits

Eftersom nötköttsproduktionen är nära integrerat med mjölkproduktionen har köttrasinsemination blivit ett sätt för lantbrukare att få ett ökat värde vid slakt för ungnöt som ej används till rekrytering. Nötkreatur av köttras har högre tillväxtkapacitet, ett högre slaktutbyte och har en slaktkropp med mer muskler än nötkreatur av mjölkras. Slakttidpunkten påverkar slaktad vikt och klassningen av slaktkroppen. Slakt vid fel tidpunkt kan innebära en ekonomisk förlust för lantbrukaren eftersom slaktkroppsklassificeringen som utförs av slakterierna används som underlag för betalningen. Syftet med denna litteraturstudie var att jämföra mjölkrastjurar med mjölkras x köttrastjurar med avseende på konsumtion, tillväxt, fodereffektivitet och slaktkroppsegenskaper. Studier visade att foderkonsumtionen skilde sig inte signifikant mellan mjölkrastjurar ock köttras x mjölkrastjurar. Däremot påvisades att tillväxt, slaktkroppstillväxt, slaktutbyte, fettklass och formklass var signifikant högre hos tjurar av köttraskorsning än hos mjölkrastjurar. Trots förbättrad tillväxt hos köttraskorsningar vid lika konsumtion kunde det inte påvisas några signifikanta skillnader i fodereffektivitet mellan mjölkrastjurar och mjölkras x köttrastjurar. På grund av de förbättrade parametrarna kan tjurar av mjölk x köttraskorsning jämfört med tjurar av mjölkras ge möjlighet till en förbättrad lönsamhet för lantbrukaren.Since beef production is closely integrated with dairy production, beef breed insemination has become a way for the farmer to obtain an increased value at slaughter for animals not used for recruitment. Beef cattle have higher growth capacity, higher dressing percentage and a carcass with a higher proportion of muscle than dairy cattle. Time for slaughter affects carcass weight and carcass classification. Slaughter at the wrong time can mean a financial loss for the farmer as carcass classification, which is performed by personnel at the abattoir, affects the payment to the farmer. The aim of this literature review was to compare dairy bulls with dairy x beef bulls in terms of consumption, average daily gain, feed efficiency and carcass characteristics. Studies showed that feed consumption did not differ significantly between bulls of dairy breed and bulls of beef x dairy breed. However, it was shown that average daily gain, daily carcass gain, dressing percentage, fatness and conformation were significantly higher in cross-bred bulls than in bulls of dairy breed. Despite the improved average daily gain of beef x dairy breeds at similar consumption, no significant differences in feed efficiency between dairy breed and dairy x beef breed were obtained. Due to the improved parameters, production systems with bulls of beef x dairy breeds compared to bulls of dairy breeds can potentially improve the profitability for the farmer

Some studies on macama balthica l

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Molecular evolution of synonymous codon usage in Populus

<p>Abstract</p> <p>Background</p> <p>Evolution of synonymous codon usage is thought to be determined by a balance between mutation, genetic drift and natural selection on translational efficiency. However, natural selection on codon usage is considered to be a weak evolutionary force and selection on codon usage is expected to be strongest in species with large effective population sizes.</p> <p>Results</p> <p>I examined the evolution of synonymous codons using EST data from five species of <it>Populus</it>. Data on relative synonymous codon usage in genes with high and low gene expression were used to identify 25 codons from 18 different amino acids that were deemed to be preferred codons across all five species. All five species show significant correlations between codon bias and gene expression, independent of base composition, thus indicating that translational selection has shaped synonymous codon usage. Using a set of 158 orthologous genes I detected an excess of unpreferred to preferred (<it>U </it>→ <it>P</it>) mutations in two lineages, <it>P. tremula </it>and <it>P. deltoides</it>. Maximum likelihood estimates of the strength of selection acting on synonymous codons was also significantly greater than zero in <it>P. tremula</it>, with the ML estimate of 4<it>N</it>_<it>e</it><it>s </it>= 0.720.</p> <p>Conclusion</p> <p>The data is consistent with weak selection on preferred codons in all five species. There is also evidence suggesting that selection on synonymous codons has increased in <it>P. tremula</it>. Although the reasons for the increase in selection on codon usage in the <it>P. tremula </it>lineage are not clear, one possible explanation is an increase in the effective population size in <it>P. tremula</it>.</p

Opening opera: developing a framework that allows for the interactive creative processes of improvised theatre in the productions of new music-dramas

Opening Opera explores creative collaboration and dramatic improvisation in new music-dramas. Looking towards the art of improvised theatre, the aim is to achieve a dramatic process in opera which facilitates a flexible kind of dramaturgy, enabling singers and directors to lead and inform certain creative processes that are normally in the hands of the operatic composer and/or librettist alone. By developing particular unorthodox scoring methods, along with specific rehearsal schedule considerations that support these flexible processes, the composer attempts to create not improvised opera, but what could be called an open opera, where the compositional focus is working with a free vocal line with active accompaniment. This framework is one in which the composer provides the parameters and material for dramatic and compositional flexibility, and then ‘takes a step back’ during a collaborative and improvisational process, whilst retaining sufficient leadership and creative authority to realise the overarching structure satisfactorily. In order to develop said unorthodox scoring methods and processes, the creative team explored and informed structural, dramatic, technical and musical aspects of new material, utilising the performers’ specialised training and experience in an interactive creative process. This exploration brought up questions such as: how to allow an open process such as this one while still attempting to retain overarching artistic control; what are the parameters that the composer will need to determine (i.e. keep 'closed'); and what are the parameters that he must allow to be spontaneous, improvised or open? By opening up the process in this way, interesting genre specific problems were exposed that are more often than not left implicit rather than explicit by creators of opera. This exploration reveals knowledge beneficial to tutors, composers, librettists, singers, conductors and directors of music-dramas. This inquiry is primarily grounded in several methods extracted and modified from improvised theatre, opera, and open-scored compositions of the mid-20th century. The musical and qualitative data discussed in this commentary emerged during the preparation, writing and production of the author’s original music-drama studies. Studies include excerpts from two chamber operas; A Glacier’s Requiem (2013) (or “Bráð” in the original Icelandic), and Évariste (2014); a short monodrama study, Solitude 1 (2015); and a chamber opera presented in its entirety, After the Fall (2017)