Little is known about the portrayal of asthma in US newspapers. The purpose of the present study was to analyze 7 representative US newspapers to determine the frequency of substantive asthma articles and the occurrence of stigma, challenge, fear, and management frames within the articles. The authors conducted a content analysis of 203 in-depth asthma articles from 2 years in 7 US newspapers and developed a coding instrument to identify framing cues of stigma versus challenge and fear versus management. Research results supported the need for an increase in substantive print news articles about asthma. Fear cues were present in 43% of the articles reviewed, although the majority of them (88%) contained a management solution message. Only 41% of articles contained a positive challenge cue. More than onefourth (28%) contained a stigma cue. Overall, the majority of the articles had a neutral or positive tone, but almost 2 of 10 articles had a negative tone. Recommendations and implications for asthma educators are discussed.
This paper presents a microfluidic device capable of performing genetic analysis on dung samples to identify White Rhinoceros (Ceratotherium simum). The development of a microfluidic device, which can be used in the field, offers a portable and cost‐effective solution for DNA analysis and species identification to aid conservation efforts. Optimization of the DNA extraction processes produced equivalent yields compared to conventional kit‐based methods within just 5 minutes. The use of a color‐changing loop‐mediated isothermal amplification reaction for simultaneous detection of the cytochrome B sequence of C. simum enabled positive results to be obtained within as little as 30 minutes. Field testing was performed at Knowsley Safari to demonstrate real‐world applicability of the microfluidic device for testing of biological samples.
This paper provides an overview of a Max/MSP patch that sonifies seismic data and the use of spatialisation to explore the resulting soundscape. The background to the development of the patch and spatialisation techniques are discussed and a brief overview of the implementation of the patch is provided with contexts for its use. Spatialisation is explored with the use of a new mechatronic speaker system and its use in a live performance. Finally, the paper considers future development of the system.
13were dispersed. This began with research into the psychoacoustics of human hearing, leading to more accurate pan-pot laws for stereo panning [3], and were furthered again in the 1990s with developments in vector-base amplitude panning [4], wave field synthesis and higherorder ambisonics. The new technologies encouraged new spatial aesthetics, allowing composers to conceive spatialization through a focus on the creation of holophonic sound fields and phantom sources.Tools for the control of spatialization algorithms found their way into digital audio workstations, allowing the composer to drag a virtual representation of a sound object and place it within a speaker array. The amplitude mapping of faders was counterintuitive for pantophonic motion (i.e. circular spatial trajectories): Most spatial user interfaces became graphical. In spite of this, the mixing desk continued to be the user interface for diffusion performance. With composers thinking and acting one way in the studio and another in the concert hall, the paradigm was ripe for disruption. In the studio, composers have as much time as needed to place sounds precisely where desired and to trace out specific trajectories with the mouse onscreen. In performance, the luxury of time is diminished, and gestural relationships become more relevant. The holophonic sound field and its effect on a composer's way of thought emphasized the need for a new performance interface, as the ergonomics of the mixing desk often hinder the potential trajectories available to the performer. This problem a b s t r a c t Wi th the ascendance of the field of new interfaces for musical expression, a new phase of sound diffusion has emerged. Rapid development is taking place across the field, with a focus on gestural interaction and the development of custom performance interfaces. This article discusses how composers and performers embracing technology have broadened the boundaries of spatial performance. A particular focus is placed on performance interfaces built by the author that afford the artist more control over performative gestures. These new works serve as examples of the burgeoning field of diffusion performance interface design.Bridget Johnson (researcher, student), New For over half a century, the performance paradigm of sound diffusion has centered on the performer using a mixing desk as a controller. While much development has taken place regarding studio spatialization techniques and rendering algorithms, until recently the performance interface for diffusion has seen little change. A recent trend in diffusion performance is the application of new musical interfaces. HistoryIn 1951, Pierre Schaefer and Pierre Henry presented the potentiomètre d'espace, a diffusion system with which they performed precomposed electroacoustic music by dynamically spatializing sounds through a tetrahedral speaker array. The two artists built an interface of potentiometers to control the gain of each speaker and, thus, the spatial field [1]. The diffusion concert is a tradition that r...
<p>This thesis documents three years of extensive research into the field of sonic spatial expression and is the culmination of years of fascination about all of the ways music is made. In particular, it focuses on the way sounds move through space. This research stems from artistic practice and a desire to deeply explore spatial aesthetics in sound art. A potential for further development of tools designed for aesthetic engagement with spatial attributes of music is identified. It is proposed that with new tools designed for the manipulation of spatial attributes, new spatial aesthetics might emerge. In exploring this proposition, a number of contributions to the field of spatial sound art are presented. The main approach taken is to apply new technologies to the design of spatialisation performance interfaces. It is hoped that in designing novel interfaces that specifically engage with spatial parameters, new ways for aesthetically engaging with space will be afforded for composers and performers. The tools designed all aim to exhibit a high level of intuitiveness in their control systems, allowing non- expert users access to these spatially expressive tools. Additionally, the new tools aim to provide high levels of expressivity so that advanced composers who are looking for new ways to use space expressively may also use them. This thesis focuses on the design, development, implementation, analysis, and artistic use of new spatial interfaces. The design methodology implemented for all of the interfaces includes both testing and analysis phases that involve the composition and performance of new musical works. The development of the interfaces is closely coupled with the development of the new musical works, with each design phase applied to a new work and each new work or spatial idea exploring the new aesthetics afforded by the tools. The assessment of these new tools takes various forms: they are assessed by critical evaluation of the new works created, by user study evaluations from other composers who utilise the tools, and, where appropriate, by quantifiable methods of evaluation that are adopted to assess specific spatialisation tools. The new musical interfaces presented, described, and evaluated in this document were conceived of as musical instruments, each affording new approaches to spatial expression. This document also details an extensive collection of new musical works that feature the interfaces. It concludes by suggesting future directions for this research body and the spatialisation interface design field.</p>
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