The use of podcasts to enhance research-teaching linkages in undergraduate nursing students.

An understanding of research is important to enable nurses to provide evidencebasedcare. However, undergraduate nursing students often find research a challenging subject. The purpose of this paper is to present an evaluation of the introduction of podcasts in an undergraduate research module to enhance research teaching linkages between the theoretical content and research in practice and improve the level of student support offered in a blended learning environment. Two cohorts of students (n=228 and n=233) were given access to a series of 5 “guest speaker” podcasts made up of presentations and interviews with research experts within Edinburgh Napier. These staff would not normally have contact with students on this module, but through the podcasts were able to share their research expertise and methods with our learners. The main positive results of the podcasts suggest the increased understanding achieved by students due to the multi-modal delivery approach, a more personal student/tutor relationship leading to greater engagement, and the effective use of materials for revision and consolidation purposes. Negative effects of the podcasts centred around problems with the technology, most often difficulty in downloading and accessing the material. This paper contributes to the emerging knowledge base of podcasting in nurse education by demonstrating how podcasts can be used to enhance research-teaching linkages and raises the question of why students do not exploit the opportunities for mobile learning.

Nine for ones in nine: a schizophrenic cyborg love story.

By appropriating the images of the schizophrenic and the cyborg from Deleuze and Guattari, and from Donna Haraway respectively, this paper seeks to discuss the relationship between human and computer, composer and performer in a way that undermines and subverts the normal binaries commonly employed, and even implied in the descriptions of these relationships in this paper. “Nine for ones in nine”, despite employing the use of the OpenMusic software in its composition, retains a degree of choice and indeterminacy for the performers; despite employing the use of precise just harmony in its design and intent, the work depends upon the imprecision of human control rather than ceding to the precision of a synthesiser. Given the vast possibilities opened up to composers by the use of computers to calculate and create sound, why then do composers continue to employ performers in the realisation of their designs, and rely on sometimes hundreds of years-old technology to articulate them in real time? The very social and imprecise aspect of the act of performance is key to the messy, compromised, and complicit product that scores such as Nine for ones in nine aim to produce.