Summary
Objectives: The rapid growth, both in technical and social approaches to the innovation phenomenon in health care suggests that profound changes are occurring. The focus of the project was to evaluate these changes through the case study of the French emergency field.
Methods: The consequences of information technology implementations in the Emergency Services are presented as models to investigate the importance of technical expertise, with both the involvement of all the stakeholders from the beginning of the design and the test of the new tool in real settings.
Results and Conclusion: A new form of work resulted for the management of the crisis, which questioned the status of the actors and their actions, and the characteristics of the protocols of rescue. The outcome of this project was a new model built for the rescue of the emergency field which encompasses alternative forms of expertise.
The organ and the clock were, up until the Industrial Revolution, the two most complex machines ever to have been created. Their ingenuity, cost, and ability to elicit reactions of wonder meant that they were readily adopte d as symbols of power and prestige, and over time were to become incorporated into the very fabric of both city and church. As elsewhere in Europe, the organ in the Hispanic world reached its zenith in the seventeenth and eighteenth centuries as a result of technological advances and a quest for new sounds, in keeping with the insatiable desire for novel experiences that was typical of the epoch. Unlike its counterparts, the unique central location of the liturgical nucleus within the interiors of Hispanic cathedrals privileged the organ as a visual, spatial, and sonic focus. Conditioned by the broad hall-like configuration of these interiors, Hispanic organs developed a lateral façade, evolving in the eighteenth century as monumental walls of sight and sound -a nexus of architecture and music. This paper uses a lens of spatial analysis to explore the quest for architectural and sonic symmetry, spatial novelty, and sensorial affect in the Hispanic world. Examples such as the cathedrals of Seville, Mexico City, Granada, and Malaga are used to assess the role that the double-façade mirror organ played in the configuration of the sonic-architectural experience of the Baroque.The experience of entering the enormous hall-like spaces of Hispanic cathedrals plays on the contrast between the bright profane exterior world and the sacred penumbra of the interior, signalling the liminal transition of rite and space. Unlike their companions of the French tradition, these cathedrals do not draw the eye upwards through a flood of divine light, rather it is held captive amongst a glittering gilt undergrowth of altars, chapels, and screens. Our focus is directed towards the liturgical nucleus of altar and choir -sacrifice and praise. The expectation of a
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