The Entertaining Way to Behavioral Change: Fighting Hiv with Mtv
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The Econometric Society European Region Aide Mémoire
The Econometric Society European Region Aide M´emoire March 22, 2021 1 European Standing Committee 2 1.1 Responsibilities . .2 1.2 Membership . .2 1.3 Procedures . .4 2 Econometric Society European Meeting (ESEM) 5 2.1 Timing and Format . .5 2.2 Invited Sessions . .6 2.3 Contributed Sessions . .7 2.4 Other Events . .8 3 European Winter Meeting (EWMES) 9 3.1 Scope of the Meeting . .9 3.2 Timing and Format . 10 3.3 Selection Process . 10 4 Appendices 11 4.1 Appendix A: Members of the Standing Committee . 11 4.2 Appendix B: Winter Meetings (since 2014) and Regional Consultants (2009-2013) . 27 4.3 Appendix C: ESEM Locations . 37 4.4 Appendix D: Programme Chairs ESEM & EEA . 38 4.5 Appendix E: Invited Speakers ESEM . 39 4.6 Appendix F: Winners of the ESEM Awards . 43 4.7 Appendix G: Countries in the Region Europe and Other Areas ........... 44 This Aide M´emoire contains a detailed description of the organisation and procedures of the Econometric Society within the European Region. It complements the Rules and Procedures of the Econometric Society. It is maintained and regularly updated by the Secretary of the European Standing Committee in accordance with the policies and decisions of the Committee. The Econometric Society { European Region { Aide Memoire´ 1 European Standing Committee 1.1 Responsibilities 1. The European Standing Committee is responsible for the organisation of the activities of the Econometric Society within the Region Europe and Other Areas.1 It should undertake the consideration of any activities in the Region that promote interaction among those interested in the objectives of the Society, as they are stated in its Constitution. -
“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
“UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
Wirecast for Youtube User Guide
Mac 1.1 User’s Guide %FDFNCFS 3 Contents Preface 7 Copyright Notice 7 Customer Support 7 Introduction 9 Introduction 9 Wirecast for YouTube Features 10 Getting Started 10 Two Ways to Use Wirecast for YouTube 10 Subject Is Operator 10 Subject Plus Operator 10 Main Window 11 Preview 14 Getting Started 15 Introduction 15 Creating a Live Event 16 The Main Window 16 What is a Shot? 16 Adding a Shot 17 Transitions and Go Button 18 Transitions 18 The Go Button 20 Creating Composite Shots 23 Composite Shots 23 Title Overlays 24 Live Streaming 27 Setup a YouTube Event 27 Sign in to YouTube 27 Connect to YouTube 30 4 Contents Adding Media 33 Introduction 33 Source Media Panels 34 Adding Media Files 35 Adding Cameras 36 Adding Composite Sources 36 Adding Overlays 38 Adding Desktop Shots 38 GIF and Transparency 38 Movies 39 Problems Showing Movie Types 39 MPEG-1 Audio 39 AVI Video 39 Windows Media 39 Real Media 39 Using Overlays 41 Introduction 41 Adding Media Overlays 42 Adding Title Overlays 42 Using Audio Controls 45 Introduction 45 The Audio Panel 46 Assigning Audio sources 47 Master Audio 48 Streaming 49 Introduction 49 Live Streaming 50 Setup a YouTube Event 50 Sign in to YouTube 50 Connect to YouTube 53 Flash Log Files 54 User Interface 55 Introduction 55 Wirecast for YouTube Menu 56 File Menu 56 Sources Menu 56 Window Menu 57 Tools Menu 57 Help Menu 57 Keyboard Short-cuts 57 December, 2012 Wirecast for YouTube User’s Guide | 96822 Contents 5 Using the Source Settings 61 Introduction 61 Topics 61 Overview 62 System Devices 63 Desktop Presenter -
Eliana La Ferrara
ELIANA LA FERRARA Università Bocconi Via Roentgen 1 20136 Milano, Italy [email protected] CURRENT POSITION Bocconi University - Fondazione Romeo ed Enrica Invernizzi Chair in Development Economics, 2011-current - Scientific Director, Laboratory for Effective Anti-Poverty Policies (LEAP), 2016-current PAST EMPLOYMENT Bocconi University - Dean of Research, 2014-2016 - Full Professor of Economics: 2006-2011 - Associate Professor of Economics (with tenure): 2002-2006 - Assistant Professor of Economics: 1999-2002 London School of Economics BP Centennial Professor, 2017-18 Massachusetts Institute of Technology Visiting Professor, Department of Economics, 2012-2013 EDUCATION Harvard University, Ph.D. in Economics. June 1999 Bocconi University, Dottorato in Economia Politica. July 1997 Bocconi University, Laurea in Discipline Economiche e Sociali. Cum laude and recommendation for publication. March 1993 FIELDS OF INTEREST Development Economics Political economics PUBLICATIONS Articles in international journals “Goals and Gaps: Educational Careers of Immigrant Children” (with M. Carlana and P. Pinotti), Econometrica, forthcoming. “Violence Against Women: A Cross-cultural Analysis for Africa” (with A. Alesina and B. Brioschi), Economica, forthcoming. “Learning Spillovers in Conditional Welfare Programs: Evidence from Brazil” (with. F. Brollo and K. Kaufmann), Economic Journal, 130 (628), 853–879, 2020. “The Political Economy of Program Enforcement: Evidence from Brazil” (with F. Brollo and K. Kaufmann), Journal of the European Economic Association, 18(2), 750–791, 2020. “Aspirations, Social Norms and Development”, Journal of the European Economic Association, 17(6), 1687–1722, 2019. “Entertainment, Education and Attitudes towards Domestic Violence” (with A. Banerjee and V. Orozco), AEA Papers and Proceedings, 109, 133-37, 2019. “Conflict, Climate and Cells: A Disaggregated Analysis” (with M. -
Songs by Title
Karaoke Song Book Songs by Title Title Artist Title Artist #1 Nelly 18 And Life Skid Row #1 Crush Garbage 18 'til I Die Adams, Bryan #Dream Lennon, John 18 Yellow Roses Darin, Bobby (doo Wop) That Thing Parody 19 2000 Gorillaz (I Hate) Everything About You Three Days Grace 19 2000 Gorrilaz (I Would Do) Anything For Love Meatloaf 19 Somethin' Mark Wills (If You're Not In It For Love) I'm Outta Here Twain, Shania 19 Somethin' Wills, Mark (I'm Not Your) Steppin' Stone Monkees, The 19 SOMETHING WILLS,MARK (Now & Then) There's A Fool Such As I Presley, Elvis 192000 Gorillaz (Our Love) Don't Throw It All Away Andy Gibb 1969 Stegall, Keith (Sitting On The) Dock Of The Bay Redding, Otis 1979 Smashing Pumpkins (Theme From) The Monkees Monkees, The 1982 Randy Travis (you Drive Me) Crazy Britney Spears 1982 Travis, Randy (Your Love Has Lifted Me) Higher And Higher Coolidge, Rita 1985 BOWLING FOR SOUP 03 Bonnie & Clyde Jay Z & Beyonce 1985 Bowling For Soup 03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 BOWLING FOR SOUP '03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 Bowling For Soup 03 Bonnie And Clyde Jay Z & Beyonce 1999 Prince 1 2 3 Estefan, Gloria 1999 Prince & Revolution 1 Thing Amerie 1999 Wilkinsons, The 1, 2, 3, 4, Sumpin' New Coolio 19Th Nervous Breakdown Rolling Stones, The 1,2 STEP CIARA & M. ELLIOTT 2 Become 1 Jewel 10 Days Late Third Eye Blind 2 Become 1 Spice Girls 10 Min Sorry We've Stopped Taking Requests 2 Become 1 Spice Girls, The 10 Min The Karaoke Show Is Over 2 Become One SPICE GIRLS 10 Min Welcome To Karaoke Show 2 Faced Louise 10 Out Of 10 Louchie Lou 2 Find U Jewel 10 Rounds With Jose Cuervo Byrd, Tracy 2 For The Show Trooper 10 Seconds Down Sugar Ray 2 Legit 2 Quit Hammer, M.C. -
Using Pop Soundtrack As Narrative Counterpoint Or Complement Margaret Dudasik Honors College, Pace University
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 5-1-2013 Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement Margaret Dudasik Honors College, Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Part of the Film and Media Studies Commons Recommended Citation Dudasik, Margaret, "Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement" (2013). Honors College Theses. Paper 127. http://digitalcommons.pace.edu/honorscollege_theses/127 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement By: Margaret Dudasik May 15, 2013 BA Film & Screen Studies/ BFA Musical Theatre Dr. Ruth Johnston Film & Screen Studies, Dyson College of Arts and Sciences 1 Abstract There is much argument against using pre-existing music in film, Ian Garwood noting three potential problems with the pop song: obtrusiveness, cultural relevance, and distance from the narrative (103-106). It is believed that lyrics and cultural connotations can distract from the action, but it is my belief that these elements only aid narrative. By examining the cinematic functions of the soundtracks of O Brother Where Are Thou? (2000) and Marie Antoinette (2006), I will argue that using pre-existing music in film is actually more effective than a score composed specifically for a film. Film theorist Claudia Gorbman notes that film scores have “temporal, spatial, dramatic, structural, denotative, [and] connotative” abilities” (22), and it is my belief that pop music is just as economical in forming character, conveying setting, and furthering plot. -
A Mobile Musical W Illiam Carter Leslie S
Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), Vancouver, BC, Canada Location33: A Mobile Musical W illiam Carter Leslie S. Liu University of Southern California University of Southern California Lucas 310, 850 W. 34th St. 3740 McClintock Ave. Suite 131 Los Angeles, CA 90089 Los Angeles, CA 90089 1-323-422-2771 1-626-319-8595 [email protected] [email protected] ABSTRACT physical locations [2]. In this paper, we describe a course of research investigating the Much of the current research into mobile music lies towards potential for new types of music made possible by location the “real” part of this Reality-Virtuality Continuum, tracking and wireless technologies. Listeners walk around augmenting our perception of the real world with virtual – in downtown Culver City, California and explore a new type of this case musical – data. Oversampling, INC. produced musical album by mixing together songs and stories based on Soundwalk NYC as a guide to all the hot spots in New York their movement. By using mobile devices as an interface, we [3]. Many projects have followed similar “guide” models, can create new types of musical experiences that allow using voice to manifest certain aspects of the environment to listeners to take a more interactive approach to an album. the listener. Other projects, such as Future Applications Labs’ Sonic City allowed users to create electronic music through their interactions with the environment as determined by a Keywords large array of environmental sensors [4]. Sonic City was an Mobile Music, Digital Soundscape, Location-Based abstract way of bringing urban physical space into the Entertainment, Mobility, Interactive Music, Augmented consciousness of the listener, augmenting the environment Reality with music. -
The Narrative Potential of Album Covers
Studies in Visual Arts and Communication: an international journal Vol 2, No 2 (2015) on-line ISSN 2393 - 1221 The Narrative Potential of Album Covers Robert J. Belton Abstract In Popular Music Studies there appears to be a conceptual divide between the aesthetics of videos and those of album covers because the former move in time and the latter do not. One of the consequences of this separation is that music video studies tend to take inspiration from film and media studies whereas album cover studies tend to derive ideas and methods from art history. This paper asks if this isn’t a missed opportunity. It argues that album covers can and do exist in time, and it offers a type of analysis that shows how still and moving images both integrate with music to create a modal hybrid that is greater than simply the sum of their parts. One can, for example, profitably deploy narrative analysis to understand still images. Similarly, one can deploy art historical methods to assess music videos. There is a conceptual divide between the switching vertical recession to a horizontal aesthetics of album covers and those of videos plane 3. In contrast to mere depictions of objects because the latter move in time, while the and spatial relations, Lessing argued that poetry former do not. This paper argues that album necessarily exists in time as the result of the covers do exist in time, because they, too, are in consecutive presentation of elements. He semiotic coordination with music, producing concluded that pictures only represent things, opportunities for multimodal analyses. -
Full Proposal Template
World Bank Knowledge for Change Program – Full Proposal Template Basic Data: Title Fostering Women's Economic Inclusion with Edutainment and Behavioral Nudges in Mauritius Linked Project ID P171809 Product Line RA Applied Amount ($) $230,000 Est. Project Period 03/15/2020i -06/30/2021**ii Team Leader(s) Marco Ranzani, Managing Unit DECPI Eeshani Kandpal, Isis Gaddis Contributing unit(s) EA1PV, DECPI, HGNDR Funding Window Poverty and Shared Prosperity Regions/Countries Country/Countries (please Mauritius specify) General: 1. What is the Development Objective (or main objective) of this Grant? The objective of this proposal is to assess whether exposing low educated married women who do not participate in the labor force and their husbands/partners to an educational entertainment (or “edutainment”) program can change individual preferences, perception of social norms, and ultimately behaviors related to women’s participation in the labor market. The edutainment program will promote a positive image of working women as well as of husbands that share responsibilities for household chores with their working wives in an entertaining format that is relatable at an emotional level. This will be accompanied by behavioral nudges with the goal of providing psychological tools to thrive through the journey of looking for a job. By studying the interaction between these two interventions, the project will contribute to the emerging literature linking aspirations, agency, and pathways. The objective of this proposal builds on the findings of a series of analytical pieces delivered by the Poverty and Equity GP over the past 4 FYs. Inequality has increased in Mauritius over the past decade and this has held back progress in poverty reduction. -
NARRATIVE Directions in Econarratology
ENVIRONMENT New NARRATIVE Directions in Econarratology edited by ERIN JAMES AND ERIC MOREL ENVIRONMENT AND NARRATIVE THEORY AND INTERPRETATION OF NARRATIVE James Phelan and Katra Byram, Series Editors ENVIRONMENT AND NARRATIVE NEW DIRECTIONS IN ECONARRATOLOGY EDITED BY Erin James AND Eric Morel THE OHIO STATE UNIVERSITY PRESS COLUMBUS Copyright © 2020 by The Ohio State University. This edition licensed under a Creative Commons Attribution-NonCommercial-NoDerivs License. Library of Congress Cataloging-in-Publication Data Names: James, Erin, editor. | Morel, Eric, editor. Title: Environment and narrative : new directions in econarratology / edited by Erin James and Eric Morel. Other titles: Theory and interpretation of narrative series. Description: Columbus : The Ohio State University Press, [2020] | Series: Theory and interpretation of narrative | Includes bibliographical references and index. | Summary: “Collection of essays connecting ecocriticism and narrative theory to encourage constructive discourse on narrative’s influence of real-world environmental perspectives and the challenges that necessitate revision to current narrative models”—Provided by publisher. Identifiers: LCCN 2019034865 | ISBN 9780814214206 (cloth) | ISBN 0814214207 (cloth) | ISBN 9780814277546 (ebook) | ISBN 0814277543 (ebook) Subjects: LCSH: Ecocriticism. | Environmental literature. | Narration (Rhetoric) Classification: LCC PN98.E36 E55 2020 | DDC 809/.93355—dc23 LC record available at https://lccn.loc.gov/2019034865 Cover design by Andrew Brozyna Text design by Juliet Williams Type set in Adobe Minion Pro for Ben and Freddie, my favorites From Erin for Grandmaman, an avid reader and early recommender of books From Eric CONTENTS Acknowledgments ix INTRODUCTION Notes Toward New Econarratologies ERIN JAMES AND ERIC MOREL 1 I. NARRATOLOGY AND THE NONHUMAN CHAPTER 1 Unnatural Narratology and Weird Realism in Jeff VanderMeer’s Annihilation JON HEGGLUND 27 CHAPTER 2 Object-Oriented Plotting and Nonhuman Realities in DeLillo’s Underworld and Iñárritu’s Babel MARCO CARACCIOLO 45 II. -
10 March 2007
% & ' ( _ CEPR/Swedish Development Economics Network Conference on Development Economics Stockholm, 9 -10 March 2007 PARTICIPANTS Name Address Telephone, Fax, Email Arne Bigsten Department of Economics TEL: 00 46 31 773 1358 University of Gothenburg Victoriagatan 30 S-41125 Göteborg FAX: 00 46 31 773 1326 SWEDEN EMAIL: [email protected] Martina Björkman IGIER, Bocconi University TEL: 00 39 02 5836 3321 Via Salasco 5 20136 Milan ITALY FAX: 00 39 02 5836 3302 EMAIL: [email protected] Robin Burgess London School of Economics TEL: 020 7955 6676 Houghton Street London WC2A 2AE FAX: 020 7955 6951 EMAIL: [email protected] 1 Esther Duflo Department of Economics TEL: 001 617 258 7013 Massachusetts Institute of Technology E52-252g 50 Memorial Drive Cambridge MA 02142-1347 FAX: 001 617 253 6915 EMAIL: [email protected] Marcel Fafchamps Department of Economics TEL: 01865 281446 University of Oxford Manor Road Building Manor Road FAX: 01865 281447 Oxford OX1 3UQ EMAIL: [email protected] Erica Field Department of Economics TEL: 00 1 617 496 18 95 Harvard University Littauer M-30 1805 Cambridge Street Cambridge, MA 02138 FAX: 00 1 617 495 85 70 USA EMAIL: [email protected] Bård Harstad MEDS TEL: Kellog School of Management Northwestern University 633 Clark Street Evanston, IL 60208 FAX: USA EMAIL: [email protected] Seema Jayachandran Department of Economics TEL: 001 650 725 3266 Stanford University 579 Serra Mall Stanford CA 94305-6072 FAX: 001 650 725 5702 USA EMAIL: [email protected] Dean S. Karlan Assistant Professor of Economics TEL: 00 1 203 432 4479 Yale University 77 Prospect Street Room A105 FAX: 00 1 203 432 3296 P.O.