I Know. I Want. I Dream
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Designing for Dream Spaces
DESIGNING FOR DREAM SPACES: EXPLORING DIGITALLY ENHANCED SPACE FOR CHILDREN’S ENGAGEMENT WITH MUSEUM OBJECTS KATARZYNA WARPAS A thesis submitted in partial fulfilment of the requirements of the University of Wolverhampton for the degree of Doctor of Philosophy April 2013 This work or any part thereof has not previously been presented in any form to the University or to any other body whether for the purposes of assessment, publication or for any other purpose (unless otherwise indicated). Save for any express acknowledgments, references and/or bibliographies cited in the work, I confirm that the intellectual content of the work is the result of my own efforts and of no other person. The right of Katarzyna Warpas to be identified as author of this work is asserted in accordance with ss.77 and 78 of the Copyright, Designs and Patents Act 1988. At this date copyright is owned by the author. Signature……………………………………….. Date…………………………………………….. 2 “BUILDING THAT BRIDGE BETWEEN VISITORS AND OBJECTS (…) IS THE ESSENCE OF A GOOD MUSEUM DESIGN.” JOHN H. FALK, 2009 3 4 ABSTRACT This thesis presents an investigation into the potential of digitally enhanced exhibition spaces to foster the engagement of children within family groups with museum objects on display, i.e. where physical contact is prohibited. The main focus is on the influence of digital enhancement on visitors’ engagement with artefacts and not on the digital elements themselves. This study has taken the mixed methods approach. It combines ethnographically- informed field studies with a design intervention within an overarching methodology of action research. In the review of literature, research from multiple fields including museum studies, interaction design and play research was brought together and examined from the perspective of exhibition design. -
1 Analysis of Emotional Tones in Top Hit Song Lyrics in Relation To
Analysis of Emotional Tones in Top Hit Song Lyrics in Relation to Economic Cycles from 1990-2010 Honors Undergraduate Thesis Presented in Partial Fulfillment of the Requirements for the Business Administration Degree with Honors Research Distinction in the Fisher College of Business at The Ohio State University By Sharon Yeh Undergraduate Degree in Business Administration with an Operations & Logistics Specialization The Ohio State University 2019 Thesis Committee: Dr. Roger Bailey Dr. Hyunwoo Park Dr. Elliot Bendoly 1 Copyright by Sharon Yeh 2018 2 Abstract While music preferences in society have always changed throughout the decades, we recognize that various external factors and trends—including the economic environment-- affect the type of music we listen to. To this end, we seek to explore the relationship between economic measures and musical preferences in order to better understand how our external environment can affect the emotions that we choose to express and consume. This research analyzes the ways in how economic conditions (expansionary or contractionary periods) can be related to the tone of music that we listen to (such as joy, anger, and sadness). In this analysis, I found that in times of economic contractions, song lyrics were more likely to exhibit analytical and confidence tones, while in economic expansions’ lyrics tend to show more tones of sadness and anger. In understanding how something as external as economic cycles can influence something as internal as musical preferences, we can continue to seek out how our microenvironment affects our microenvironment. While this research can have practical application (such as providing insight to the music industry for forecasting musical preferences), I believe, more importantly, that this research can help society uncover and contemplate how their external environment influences and shapes their preferences, beliefs, and identity across generations. -
Love Ain't Got No Color?
Sayaka Osanami Törngren LOVE AIN'T GOT NO COLOR? – Attitude toward interracial marriage in Sweden Föreliggande doktorsavhandling har producerats inom ramen för forskning och forskarutbildning vid REMESO, Institutionen för Samhälls- och Välfärdsstudier, Linköpings universitet. Samtidigt är den en produkt av forskningen vid IMER/MIM, Malmö högskola och det nära samarbetet mellan REMESO och IMER/MIM. Den publiceras i Linköping Studies in Arts and Science. Vid filosofiska fakulteten vid Linköpings universitet bedrivs forskning och ges forskarutbildning med utgångspunkt från breda problemområden. Forskningen är organiserad i mångvetenskapliga forskningsmiljöer och forskarutbildningen huvudsakligen i forskarskolor. Denna doktorsavhand- ling kommer från REMESO vid Institutionen för Samhälls- och Välfärdsstudier, Linköping Studies in Arts and Science No. 533, 2011. Vid IMER, Internationell Migration och Etniska Relationer, vid Malmö högskola bedrivs flervetenskaplig forskning utifrån ett antal breda huvudtema inom äm- nesområdet. IMER ger tillsammans med MIM, Malmö Institute for Studies of Migration, Diversity and Welfare, ut avhandlingsserien Malmö Studies in International Migration and Ethnic Relations. Denna avhandling är No 10 i avhandlingsserien. Distribueras av: REMESO, Institutionen för Samhälls- och Välfärsstudier, ISV Linköpings universitet, Norrköping SE-60174 Norrköping Sweden Internationell Migration och Etniska Relationer, IMER och Malmö Studies of Migration, Diversity and Welfare, MIM Malmö Högskola SE-205 06 Malmö, Sweden ISSN -
Creating a Potentially Popular Hit Song Susan Noh University of South Carolina - Columbia
University of South Carolina Scholar Commons Senior Theses Honors College Spring 5-10-2014 Creating a Potentially Popular Hit Song Susan Noh University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/senior_theses Part of the Composition Commons Recommended Citation Noh, Susan, "Creating a Potentially Popular Hit Song" (2014). Senior Theses. 12. https://scholarcommons.sc.edu/senior_theses/12 This Thesis is brought to you by the Honors College at Scholar Commons. It has been accepted for inclusion in Senior Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. CREATING A POTENTIALLY POPULAR HIT SONG By Susan Noh Submitted in Partial Fulfillment of the Requirements for Graduation with Honors from the South Carolina Honors College May, 2014 Approved: Professor Jim Burns Director of Thesis Jonnifer Cooper Second Reader Steve Lynn, Dean For South Carolina Honors College Acknowledgements I would like to thank Professor Jim Burns for putting up with my eccentricity and allowing me to create what my heart desired. If it had not been for Dr. Kay Banks, I would have been completely lost. Thank you to Jonnifer Cooper for his wisdom and constant support in everything I do. To my parent for giving me the opportunities to take piano and violin lesson for most of my life, they definitely paid off! And lastly, to all my friends and peers who allowed this project to be successful. I would not have accomplished this without everyone. 2 Table of Contents Thesis Summary 4 Introduction 6 General Song Writing 8 Modification 11 Writing “Your Mind” 13 Recording “Your Mind” 16 Audience Survey Response 17 Conclusion 19 Bibliography 21 Appendix 22 3 Thesis Summary From as far back as I can remember I have always loved music. -
AUSTRALIAN SINGLES REPORT 19Th December, 2016 Compiled by the Music Network© FREE SIGN UP
AUSTRALIAN SINGLES REPORT 19th December, 2016 Compiled by The Music Network© FREE SIGN UP ARTIST TOP 50 Combines airplay, downloads & streams #1 SINGLE ACROSS AUSTRALIA Starboy 1 The Weeknd | UMA starboy Rockabye The Weeknd ft. Daft Punk | UMA 2 Clean Bandit | WMA Say You Won't Let Go 3 James Arthur | SME Riding the year out at #1 on the Artist Top 50 is The Weeknd’s undeniable hit Starboy ft. Daft Punk. Black Beatles Overtaking Clean Bandit’s Rockabye ft. Sean Paul & Anne-Marie which now sits at #2, Starboy has 4 Rae Sremmurd | UMA stuck it out and finally taken the crown. Vying for #1 since the very first issue of the Australian Singles Scars to your beautiful Report and published Artist Top 50, Starboy’s peak at #1 isn’t as clear cut as previous chart toppers. 5 Alessia Cara | UMA Capsize The biggest push for Starboy has always come from Spotify. Now on its eighth week topping the 6 Frenship | SME streaming service’s Australian chart, the rest of the music platforms have finally followed suit.Starboy Don't Wanna Know 7 Maroon 5 | UMA holds its peak at #2 on the iTunes chart as well as the Hot 100. With no shared #1 across either Starvi n g platforms, it’s been given a rare opportunity to rise. 8 Hailee Steinfeld | UMA Last week’s #1, Rockabye, is still #1 on the iTunes chart and #2 on Spotify, but has dropped to #5 on after the afterparty 9 Charli XCX | WMA the Hot 100. It’s still unclear whether there will be one definitive ‘summer anthem’ that makes itself Catch 22 known over the Christmas break. -
WOMAN IMAGES in 30 TOP HIT SONGS in A.D.2010S
WOMAN IMAGES IN 30 TOP HIT SONGS IN A.D.2010s KAMONWAN KAEWPHUT Graduate School Srinakharinwirot University 2019 ภาพลักษณ์สตรีใน เพลงยอดนิยมติดอันดับในคริสต์ทศวรรษที่ 30 2010 กมลวรรณ แก้วผัด สารนิพนธ์นี ้เป็นส่วนหนึ่งของการศึกษาตามหลักสูตร ศิลปศาสตรมหาบัณฑิต สาขาวิชาภาษาอังกฤษ คณะมนุษยศาสตร์ มหาวิทยาลัยศรีนครินทรวิโรฒ ปีการศึกษา 2562 ลิขสิทธิ์ของมหาวิทยาลัยศรีนครินทรวิโรฒ WOMAN IMAGES IN 30 TOP HIT SONGS IN A.D.2010s KAMONWAN KAEWPHUT A Master’s Project Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS (English) Faculty of Humanities, Srinakharinwirot University 2019 Copyright of Srinakharinwirot University THE MASTER’S PROJECT TITLED WOMAN IMAGES IN 30 TOP HIT SONGS IN A.D.2010S BY KAMONWAN KAEWPHUT HAS BEEN APPROVED BY THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE MASTER OF ARTS IN ENGLISH AT SRINAKHARINWIROT UNIVERSITY (Assoc. Prof. Dr. Chatchai Ekpanyaskul, MD.) Dean of Graduate School ORAL DEFENSE COMMITTEE .............................................. Major-advisor ............................................ Chair (Asst. Prof.Supaporn Yimwilai, Ph.D.) (Assoc. Prof.NITAYA SUKSAERESUP, Ph.D.) ............................................ Committee (Nanthanoot Udomlamun, Ph.D.) D ABST RACT Title WOMAN IMAGES IN 30 TOP HIT SONGS IN A.D.2010s Author KAMONWAN KAEWPHUT Degree MASTER OF ARTS Academic Year 2019 Thesis Advisor Assistant Professor Supaporn Yimwilai , Ph.D. This study aimed to explore images of women in song lyrics. The lyrics of thirty songs selected from the Decade-End Hot 100 Songs charts in the 2010s were analyzed using feminist theory, consisting of the aspects of objectification, inferiority, and gender stereotypes. Findings showed that fifteen song lyrics featured the objectification of women. In other words, women can be bought and sold and are generally perceived as objects for men’s desires, mostly in terms of sexual objects. -
Worldcharts TOP 200 + Album TOP 20 Vom 27.02.2017
CHARTSSERVICE – WORLDCHARTS – TOP 200 SINGLES NO. 897 – 27.02.2017 PL VW WO PK ARTIST SONG 1 1 8 1 ED SHEERAN shape of you 2 2 6 2 CHAINSMOKERS paris 3 3 12 2 ZAYN & TAYLOR SWIFT i don't wanna live forever (fifty shades darker) 4 26 3 4 KATY PERRY ft. SKIP MARLEY chained to the rhythm 5 4 18 1 CLEAN BANDIT ft. SEAN PAUL & ANNE-MARIE rockabye 6 5 14 2 WEEKND ft. DAFT PUNK i feel it coming 7 7 5 7 MARTIN GARRIX & DUA LIPA scared to be lonely 8 6 8 5 ED SHEERAN castle on the hill 9 8 23 1 WEEKND ft. DAFT PUNK starboy 10 9 28 9 RAG'N'BONE MAN human 11 10 20 1 BRUNO MARS 24k magic 12 89 2 12 KYGO & SELENA GOMEZ it ain't me 13 15 6 13 LUIS FONSI ft. DADDY YANKEE despacito 14 25 8 14 JAX JONES & RAYE you don't know me 15 11 19 2 MAROON 5 ft. KENDRICK LAMAR don't wanna know 16 13 4 13 MAJOR LAZER ft. PARTYNEXTDOOR & NICKI MINAJ run up 17 12 11 7 STEVE AOKI & LOUIS TOMLINSON just hold on 18 14 15 14 MACHINE GUN KELLY x CAMILA CABELLO bad things 19 29 3 19 IMAGINE DRAGONS believer 20 16 14 16 SEAN PAUL ft. DUA LIPA no lie 21 17 30 1 CHAINSMOKERS ft. HALSEY closer 22 20 16 19 SHAKIRA ft. MALUMA chantaje 23 18 13 12 ROBIN SCHULZ & DAVID GUETTA ft. CHEAT CODES shed a light 24 21 24 11 JAMES ARTHUR say you won't let go 25 22 17 22 STARLEY call on me 26 19 12 16 ALAN WALKER alone 27 23 23 3 CALVIN HARRIS my way 28 32 5 28 JULIA MICHAELS issues 29 24 30 2 DJ SNAKE ft. -
The Experiences of Adolescent Girls at Swimming Pools
Journal of Leisure Research Copyright 2000 2000, Vol. 32, No. 2, pp. 262-280 National Recreation and Park Association "You Can Feel Them Looking at You": The Experiences of Adolescent Girls at Swimming Pools Kandy James Marketing, Tourism and Leasure, Edith Cowan University This paper explores the constraints that a sample of Western Australian high school girls experienced when using public swimming pools, and the strategies that they developed to negotiate these constraints. The data were collected from girls, aged 15-16 years, in focus groups and individual interviews. The girls were a subset of an earlier study that had found that 29% of girls would use pools more if boys were not around. For many of these girls, embarrassment affected both the frequency and quality of their participation. To reduce self- consciousness some had developed strategies to make themselves less visible including covering up their bodies, staying in groups, swimming at remote ven- ues and avoiding pools altogether. Strategies for enhancing enjoyment of this public place are suggested. KEYWORDS: Adolescent, women, physical activity, constraints, recreation Introduction Although it is well known that girls at around 15 years of age are not as physically active or as fit as boys, the reasons for this remain largely a mystery. A quantitative study in 1995 looked at girls' perceived alienation from certain active recreational spaces as a possible factor affecting their participation (James, 1995). It found that there were certain recreational spaces that girls said they would use more in the absence of boys. The public swimming pool was one of these places. -
It Ain't My Fault, a Comedy in One
PRICE TWENTY-FIVE CENTS PS 3521 .086 n Copy 1 SOME NEW PLAYS ^MOLLY BAWN« 35 cents. A comedy drama in 4 acts, by Marie Doran. 7 male, 4 female characters (or by doubling, 5 male and 3 female). Time, about 2 hours. Uased upon incidents from a story by "The Duchess." 'J he story is woven about Eleanor Masserene {Molly Bawn), whose mother eloped with a young Irishiiian, which has so embittered her grandfather that he disinherited her. After many years, of loneliness he sends for Molly. How the coquettish heiress wiris the hard, old man, ]s worked out in the play sometimes in a comedy setting and again in strong dramatic tenseness. $10.00 royalty fer ;fierJ'ormance by amateurs. ^UNACQUAINTED WITH WORK; or. Married in Thirty Days. 25 cents. A comedy in 5 acts, by O. E. Young. 6 male, 6 female charac- ters. I interior scene. Time, 2 hours. (Jkarles Chester, a. young man of leisure, succeeds in running up several bills. At last his landlord, ^/atro^ Sharp, threatens to imprison him unless his board bill is paid. His aunt's promise to help him out for the last time if he marries within thirty days forces him to propose to every girl he meets, which naturally gets him into more trouble. Th.ough his effort to get out of the tangle many funny situations arise. Among the characters are a very funny chamber- maid and her sweetheart, a darkey cook, a comical bellhop, a clever detective, etc. A"WAIT AND SEE. 25 cents. A coinedy-drama in 3 acts, by Helen C. -
Podcast Transcription
^B00:00:04 >> You're listening to -- ^M00:00:05 >> USU Rewind. >> USU Rewind. ^M00:00:08 [ Music ] ^M00:00:20 >> Annie: Hello, everyone, and welcome to USU Rewind, hosted by your fellow CSUM students, where we will talk about a variety of topics regarding college life and advice. My name is Annie, and I'll be your host for this episode. >> Carolina Gil: Hi, everyone. My name is Carolina Gil, and I will be support host. >> Felicity Bryson: Hey, everyone. My name is Felicity Bryson. >> Zayla Paschall: And, hi, everybody. My name's Zayla. >> Annie: So when you're listening to this, it will be currently week 13 of the semester, so I know it's a lot of stress happening right now. So I thought, to help, we could all record a podcast episode about pop culture, and just current things that are going on. So if you're interested in celebrity gossip, or anything like that, today, we've got you. We're going to be talking about a lot of fun stuff in regards to pop culture. So, let's just start. >> Felicity Bryson: All right, cool. So to get things started, I'm just really curious. I actually have a really interesting question for everyone. Do you have a show that you still watch, or binge watch, that you're a little bit embarrassed about? So, for example, I'm a little bit embarrassed about being absolutely obsessed with High Musical School, The Musical, The Series. I love Joshua Bassett. I should absolutely be ashamed of the fact that I love Joshua Bassett, but I'm not, and I love the show. -
"Ersatz As the Day Is Long": Japanese Popular
“ERSATZ AS THE DAY IS LONG”: JAPANESE POPULAR MUSIC, THE STRUGGLE FOR AUTHNETICITY, AND COLD WAR ORIENTALISM Robyn P. Perry A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2021 Committee: Walter Grunden, Advisor Jeremy Wallach © 2021 Robyn P. Perry All Rights Reserve iii ABSTRACT Walter Grunden, Advisor During the Allied Occupation of Japan, Supreme Commander for the Allied Powers (SCAP) Douglas MacArthur set forth on a mission to Americanize Japan. One way SCAP decided this could be done was by utilizing forms of media that were already popular in Japan, particularly the radio. The Far East Network (FEN), a network of American military radio and television stations in Japan, Okinawa, Guam, and the Philippines, began to broadcast American country & western music. By the early 1950s, Japanese country & western ensembles would begin to form, which initiated the evolution toward modern J-pop. During the first two decades of the Cold War, performers of various postwar subgenres of early Japanese rock (or J-rock), including country & western, rockabilly, kayōkyoku, eleki, and Group Sounds, would attempt to break into markets in the West. While some of these performers floundered, others were able to walk side-by-side with several Western greats or even become stars in their own right, such as when Kyu Sakamoto produced a number one hit in the United States with his “Sukiyaki” in 1963. The way that these Japanese popular music performers were perceived in the West, primarily in the United States, was rooted in centuries of Orientalist preconceptions about Japanese people, Japanese culture, and Japan that had recently been recalibrated to reflect the ethos of the Cold War. -
Grade 11 Unit 1 EA 2 Synthesizing the American Dream Score: Exemplary
Grade 11 Unit 1 EA 2 Synthesizing the American Dream Score: Exemplary With no knowledge of the English language, my grandfather, Olav Kaldestad, immigrated to The United States with a dream and in search for an opportunity to achieve a successful job and provide an even better future for his family. Coming from a poor childhood in a different country came with struggles. He overcame those hardships and worked hard to provide for his family and sent all three of his children through college and they have achieved their American Dream as well. As proved by my grandfather, there is an American Dream. The American Dream is an idea that America gives the opportunity for anyone to succeed, however success itself is defined by the individual. The accessibility of this idea that was once the pinnacle of living in America is being challenged, but should it be? The American Dream is still accessible because those who strive for their own idea of happiness can achieve it and those who take advantage of the wealth of opportunities available can reach their dream, but because it has changed to be focused on money, for those who wealth alone is the dream, it may not be accessible to all. The American Dream is still accessible because all Americans have a right to have their own idea of happiness and those who strive for it can achieve it. In the Declaration of Independence, it states that all Americans are granted “life, liberty, and the pursuit of happiness” (Declaration of Independence 59). This guarantees that all Americans are free to live their life the way they want to and that includes having their own dream and idea of happiness and are able to pursue it in America.