Fintech and Secured Transactions Systems of the Future

Syftet med den här studien var att undersöka hur pedagoger tänker kring sitt förhållningssätt i konflikter och vilka effekter de tror att förhållningssättet kan få i barngruppen. Studiens metod har varit kvalitativa intervjuer där sex pedagoger från olika förskolor har deltagit. Resultatet visade att deltagarna hela tiden reflekterar över sitt förhållningssätt till konflikter och varför konflikter uppstår. Något som alla deltagare belyste var att det är viktigt att barnen ges verktyg för att klara konflikter själva. Flera olika strategier kunde ses på hur konflikthantering går till men mycket handlar om bemötande, förklaringar och att alla i slutändan ska känna sig nöjda. Alla deltagande ansåg att konflikter är lärande men på olika plan. Bland annat handlar det om ett lärande utifrån den gemensamma respekt man bör ha mot varandra men även det sociala samspelet nämns. De slutsatser som kan dras är att konflikthantering i förskolan är en viktig del där pedagogens förhållningssätt påverkar konfliktens utgång. Att ge barnen verktyg för att klara konflikter själva ses som en bra start och en central del i konflikthantering hos deltagarna

Hugh Davies’s Self-Built Instruments and their relation to Present-Day Electronic and Digital Instrument-Building Practices: Towards Common Themes

The first part of this essay describes some of Hugh Davies’s self-built instruments, focusing on their material characteristics and playing techniques. The context in which Davies’s instrument-building practice developed is outlined, and four themes that characterise his work are proposed: economy, materiality, community, and environment. The second part of the essay focuses on present-day electronic and digital instrument-building practices. A number of practitioners whose work has been directly influenced by Davies are discussed. Finally, some more speculative suggestions are made concerning how Davies’s practice might indirectly be connected—in terms of three of the themes mentioned previously—to the present-day practice of live-coding. This essay describes research in progress, and as such does not present any concrete conclusions. The research is being carried out as part of an AHRC-funded project in partnership with The Science Museum. For further information see http://hughdaviesproject.wordpress.com

Beyond auditive unpleasantness: an exploration of noise in the work of Filthy Turd

In this essay we examine the work of noise-artist Filthy Turd with a particular focus upon its relationship with noise, exploring the specific ways in which his practice can be considered ‘noisy’, as well as suggesting what it might tell us about the nature noise itself. As our title suggests, we will show that — far from simply being a ‘racket’ — the notion of noise is explored and presented here in several different ways that go beyond superficial or ‘common sense’ conception of noise as auditive unpleasantness. In doing so we will show how these seemingly disparate aspects of Filthy Turd’s practice—the nonsense text, the repulsive imagery, as well as some of the specific musical techniques themselves—come together to form a coherent noise-aesthetic

Internationalisation and historicisation in Hugh Davies’s international electronic music catalog: a position paper -OR- Hugh Davies: international electronic music champion

In this paper I focus on Hugh Davies's work as a researcher and documenter of electronic music in the 1960s. In particular, I discuss Davies’s work as a champion of two causes in electronic music - internationalisation; and historicisation - explain how these were manifest in his programme of research from 1961-8, and show how these concerns are reflected in subsequent studies that reference Davies's work. This text is a combined transcription of presentations given at the Eighth Biennial International Conference on Music Since 1900 (Liverpool Hope University, 12–15 September 2013) and the Royal Musical Association’s 49th Annual Conference (Institute for Musical Research, London, 19–21 September 2013). An online version (slides and recorded narration) can be viewed at http://www.james-mooney.co.uk/davies_sep13

International Electronic Music Catalog: Hugh Davies and the (ethno)musicology of electronic music

In this essay I discuss Hugh Davies’s Répertoire International des Musiques Electroacoustiques / International Electronic Music Catalog, a book of 330 pages that lists, ostensibly, every piece of electroacoustic music ever composed up to the time of its compilation. I begin by describing the Catalog itself, and the process of compiling it. I then discuss Hugh Davies—aspects of his character, and interests—and suggest how these might contribute toward an interpretation and contextualisation of the Catalog. I refer to a sample of publications that reference the Catalog, highlighting some of the broader issues that the Catalog raises in relation to the musicology of electroacoustic music, including some specifically international issues

Hugh Davies’s International Electronic Music Catalog: a preliminary exploration of its classification system and subsequent influence

In this paper I suggest that Hugh Davies’s Répertoire International des Musiques Électroacoustiques / International Electronic Music Catalog (1968)—which lists every work of electronic music up to April 1967—is more than just a list of compositions, and that it in fact expresses a particular view—encapsulates a particular narrative—of electronic music. I also show some of the ways in which that particular narrative has been carried forward in subsequent writings that have referenced the Catalog, as a way of indicating how the Catalog—and by extension Davies’s narrative—has shaped subsequent discourses on electronic music and its history. To do this I refer to the systems of classification used in the Catalog, through the theoretical lens provided by Bowker & Star in their book Sorting Things Out: Classification and its Consequences

Hugh Davies’s Electroacoustic Musical Instruments and their Relation to Present-Day Live Coding Practice: Some Historic Precedents and Similarities

The purpose of this paper is to present the self-built electroacoustic musical instruments of Hugh Davies (1943-2005) to the international live coding community, and to propose points of similarity between Davies’s practice and present-day live coding practice. In the first part of the paper, the context within which Davies’s instrument-building practice developed, in the late 1960s, is outlined, and a number of specific instruments are described. Aspects of Davies’s performance style, repertoire, and the ensembles with which he performed are discussed, as are activities such as instrument-building workshops and public exhibitions of instruments, in which he regularly participated. In the second part of the paper, four areas of connection with present-day live coding practice are suggested. Respectively, these focus upon live coding’s status: (1) as part of a long historic tradition of live electronic music performance (as opposed to electronic music constructed in the studio); (2) as a practice in which the performer him or herself builds the apparatus (whether physical or code-based) through which the music is mediated; (3) as an improvised or semi-improvised art-form in which music is developed in real time, within a framework bounded by material or quasi-material constraints; and (4) as a community of practice with a distinct agenda of promoting understanding through engagement. This paper is presented as a case study in exploring live coding’s historic precedents, and as a contribution toward situating live coding within a broader historical, cultural context

Les Musiques Électroacoustiques: construction of a discipline

My hypothesis in this paper is that Hugh Davies redefined what electronic music was via his research and documentation work in the 1960s, and, that his definition of electronic music still holds true today (at least as far as electronic music in an academic context is concerned). My argument, in other words, is that Hugh Davies constructed the discipline of what is now known as electroacoustic music. Two questions are as follows. First of all, how did Davies go about constructing a discipline of electroacoustic music? To answer that question I examine Davies’s published and unpublished research work from 1961–1968. Second, to what extent was he successful? Or, to put it another way, to what extent has Davies’s definition of electronic music been accepted? To answer this second question I examine subsequent published literature and projects from 1968–2012 that have cited or been based on Davies’s work, and show how the structure of Davies’s model of electronic music is reflected in this subsequent work. This is a transcript of a presentation given at the 3rd International Conference ‘Music and Technologies,’ Kaunas University of Technology, Lithuania, 15 November 2013