Interactive architecture

This chapter explores the development of concepts of interactive environments by comparing two major projects that frame the period of this book. The Fun Palace of 1960 and the Generator of 1980 both proposed interactive environments responsive to the needs and behaviour of their users, but the contrast in terms of the available technology and what it enabled could not be more marked. The Fun Palace broke new architectural, organizational and social ground and was arguably the first proposition for cybernetic architecture; the Generator demonstrated how it could be achieved. Both projects are now acknowledged as seminal architectural propositions of the twentieth century, and both were designed by Cedric Price.

Virtual reality or virtually real : blended teaching and learning in a Master's level research methods class

This paper examines the enabling effect of using blended learning and synchronous internet mediated communication technologies to improve learning and develop a Sense of Community (SOC) in a group of post-graduate students consisting of a mix of on-campus and off-campus students. Both quantitative and qualitative data collected over a number of years supports the assertion that the blended learning environment enhanced both teaching and learning. The development of a SOC was pivotal to the success of the blended approach when working with geographically isolated groups within a single learning environment.

The role of representative design in talent development : a comment on “Talent identification and promotion programmes of Olympic athletes”

A recent comment in the Journal of Sports Sciences (MacNamara & Collins, 2011) highlighted some major concerns with the current structure of talent identification and development (TID) programmes of Olympic athletes (e.g. Gulbin, 2008; Vaeyens, Gullich, Warr, & Philippaerts, 2009). In a cogent commentary, MacNamara and Collins (2011) provided a short review of the extant literature, which was both timely and insightful. Specifically, they criticised the ubiquitous one-dimensional ‘physically-biased’ attempts to produce world class performers, emphasising the need to consider a number of key environmental variables in a more multi-disciplinary perspective. They also lamented the wastage of talent, and alluded to the operational and opportunistic nature of current talent transfer programmes. A particularly compelling aspect of the comment was their allusion to high profile athletes who had ‘failed’ performance evaluation tests and then proceeded to succeed in that sport. This issue identifies a problem with current protocols for evaluating performance and is a line of research that is sorely needed in the area of talent development. To understand the nature of talent wastage that might be occurring in high performance programmes in sport, future empirical work should seek to follow the career paths of ‘successful’ and ‘unsuccessful’ products of TID programmes, in comparative analyses. Pertinent to the insights of MacNamara and Collins (2011), it remains clear that a number of questions have not received enough attention from sport scientists interested in talent development, including: (i) why is there so much wastage of talent in such programmes? And (ii), why are there so few reported examples of successful talent transfer programmes? These questions highlight critical areas for future investigation. The aim of this short correspondence is to discuss these and other issues researchers and practitioners might consider, and to propose how an ecological dynamics underpinning to such investigations may help the development of existing protocols...

[Den musikindustriella förändringen fortsätter och en tjänstebaserad musikekonomi börjar ta form] [in Swedish]

Det har nu gått mer än tio år sedan en student vid Northeastern University i USA lanserade den första fildelningstjänsten som blev framgångsrik bland den breda allmänheten (e.g. Alderman 2001). Lanseringen av tjänsten, som kallades Napster, ses ofta som inledningen på ett av de mest dramatiska decennierna i musikbranschens historia. En lång rad internetbaserade tjänster som följt i Napsters spår har gjort det möjligt att sprida musik till miljontals användare utan att upphovsmän och rättighetsinnehavare fått någon ersättning. Katt-och-råtta-leken mellan lagstiftning och teknik har varit intensiv och har utvecklats till ett av decenniets allra hetaste diskussionsämnen bland politiker och ledarskribenter. Försäljningen av inspelad musik har sjunkit dramatiskt och musikbranschen har tvingats ifrågasätta många väletablerade sanningar. Det här kapitlet belyser ett antal fundamentala aspekter av denna förändring och utforskar några av den ”nya” musikbranschens viktigaste karaktäristika. Under den tid som musikbranschen har beforskats har vanligtvis betoningen legat på fonogrammen, det vill säga den del av branschen som rör produktion och konsumtion av inspelad musik. På grund av branschens förändrade struktur kommer dock det här kapitlet att vidga perspektivet en smula och även inkludera musikbranschens andra delar som exempelvis konserter och förlagsverksamhet...