Are more city dwellers caught drink driving than country folk? An analysis by random breath testing apprehension rates

Background Random Breath Testing (RBT) remains a central enforcement strategy to deter and apprehend drink drivers in Queensland (Australia). Despite this, there is little published research regarding the exact drink driving apprehension rates across the state as measured through RBT activities. Aims The aim of the current study was to examine the prevalence of apprehending drink drivers in urban versus rural areas. Methods The Queensland Police Service provided data relating to the number of RBT conducted and apprehensions for the period 1 January 2000 to 31 December 2011. Results In the period, 35,082,386 random breath tests (both mobile and stationary) were conducted in Queensland which resulted in 248,173 individuals being apprehended for drink driving offences. Overall drink driving apprehension rates appear to have decreased across time. Close examination of the data revealed that the highest proportion of drink driving apprehensions (when compared with RBT testing rates) was in the Northern and Far Northern regions of Queensland (e.g., rural areas). In contrast, the lowest proportions were observed within the two Brisbane metropolitan regions (e.g., urban areas). However, differences in enforcement styles across the urban and rural regions need to be considered. Discussion and conclusions The research presentation will further outline the major findings of the study in regards to maximising the efficiency of RBT operations both within urban and rural areas of Queensland, Australia.

Folk opera : stories crossing borders in Papua New Guinea

The Life Drama project is a drama-based sexual health promotion project, developed by a cross-cultural research team in Papua New Guinea (PNG) over the past four years. Recognising the limitations of established theatre-in-education and theatre-for-development approaches when working across cultures, the research team explored ways of tapping into the everyday performativity of PNG participants and their communities in order to communicate more powerfully about the personal and social issues involved in sexual health. Through the Folk Opera form, developed by PNG theatre company Raun Raun Theatre around the time of national Independence, the research explored the importance of "story" in identity formation, maintenance and change, the communication of meaning, and the transmission of tacit local knowledges. In a highly diverse and rapidly-changing country like PNG, enacted stories inherently compel the exchange and exploration of different knowledges, and promote the dialogue and ownership that drives social change. The paper will present and unpack the Folk Opera form as developed in the Life Drama program, drawing conclusions which may apply to other programs which to promote health and social justice across cultures.

Same songs, different wrapping : the rise of the compilation album

The commercial success of compilation albums has increased in markets both in North America and in Europe. The albums can be considered as a manifestation of a significant change within the music industry—among both producers and consumers of popular music. Based on sales figures and a number of interviews with senior decision‐makers in multinational music companies, we discuss some of the major drivers behind the development, and thereby give an important contribution to the existing body of knowledge on music industry dynamics.

Twelve : the best Of IMP's 100 Songs Project 2011

12 Original recordings curated by leading national industry figures. It’s a 12 track album full of remixed, rerecorded and rejigged tracks from the project that were shortlisted by our friends at MGM Distribution, Music Sales, and EMI Music Australia. The TWELVE album is already receiving critical acclaim from Australia's music industry.

Eleven : best of 100 Songs Project 2012

Eleven original recordings curated by leading industry figures. This is a compilation album from QUT's 2012 100 Songs project. It's called Eleven: Best of 100 Songs Project 2012 and was released in May 2013. It’s an 11 track album with a bonus track, full of remixed, rerecorded and rejigged tracks from the project that were shortlisted by our friends at MGM Distribution, Mushroom Music, Island Records and Music Sales Australia. The Eleven album is already receiving critical acclaim from Australia's music industry.

100 Songs Project 2012

The Independent Music Project is centred around the development and creation of new music, and includes research into copyright, business models of the future, new technologies, and new audiences. The music industry is undergoing the most radical changes it has faced in almost a century. New digital technologies have made the production, distribution, and promotion of recorded music accessible to anyone with a personal computer. People can now make high-quality digital copies of music and distribute them globally within minutes. Even bastions of the established industries, such as EMI and Columbia, are struggling to make sense of the new industry terrain. The whole employment picture has changed just as radically for people who wish to make a living from music. In Australia, many of the avenues that provided employment for musicians have either disappeared or dramatically shrunk. The advertising industry no longer provides the level of employment it used to prior to the Federal deregulation of the industry in 1992. In many places, new legislative pressures on inner-city and suburban venues have diminished the number of performance spaces that musicians can work in. Just as quickly, new sectors have opened to professional musicians: computer games, ringtones, sound-enabled toys and web advertising all present new opportunities to the enterprising musician. The opportunity to distribute music internationally without being signed to a major label is very attractive to many aspiring and established professionals. No doubt the music industry will face many more challenges as technologies continue to change, as global communication gets easier and faster, and as the challenges to copyright proliferate and change. These challenges cannot be successfully met on a single front. They require research and expertise from all sectors being affected, and this is why the independent music project (IMP) exists.

100 Songs Project 2011

The Independent Music Project is centred around the development and creation of new music, and includes research into copyright, business models of the future, new technologies, and new audiences. The music industry is undergoing the most radical changes it has faced in almost a century. New digital technologies have made the production, distribution, and promotion of recorded music accessible to anyone with a personal computer. People can now make high-quality digital copies of music and distribute them globally within minutes. Even bastions of the established industries, such as EMI and Columbia, are struggling to make sense of the new industry terrain. The whole employment picture has changed just as radically for people who wish to make a living from music. In Australia, many of the avenues that provided employment for musicians have either disappeared or dramatically shrunk. The advertising industry no longer provides the level of employment it used to prior to the Federal deregulation of the industry in 1992. In many places, new legislative pressures on inner-city and suburban venues have diminished the number of performance spaces that musicians can work in. Just as quickly, new sectors have opened to professional musicians: computer games, ringtones, sound-enabled toys and web advertising all present new opportunities to the enterprising musician. The opportunity to distribute music internationally without being signed to a major label is very attractive to many aspiring and established professionals. No doubt the music industry will face many more challenges as technologies continue to change, as global communication gets easier and faster, and as the challenges to copyright proliferate and change. These challenges cannot be successfully met on a single front. They require research and expertise from all sectors being affected, and this is why the independent music project (IMP) exists.

Creating new folk opera forms of applied theatre for HIV and AIDS education in Papua New Guinea

This research investigated the potential of folk opera as a tool for HIV and AIDS education in Papua New Guinea. It began with an investigation on the indigenous performativities and theatricalities of Papua New Guineans, conducting an audit of eight selected performance traditions in Papua New Guinea. These traditions were analysed, and five cultural forms and twenty performance elements were drawn out for further exploration. These elements were fused and combined with theatre techniques from western theatre traditions, through a script development process involving Australians, Papua New Guineans and international collaborators. The resulting folk opera, entitled Kumul, demonstrates what Murphy (2010) has termed story force, picture force, and feeling force, in the service of a story designed to educate Papua New Guinean audiences about HIV and the need to adopt safer sexual practices. Kumul is the story of a young man faced with decisions on whether or not to engage in risky sexual behaviours. Kumul's narrative is carefully framed within selected Papua New Guinean beliefs drawn from the audit to deliver HIV and AIDS messages using symbolic and metaphoric communication techniques without offending people. The folk opera Kumul was trialled in two communities in Papua New Guinea: a village community and an urban settlement area. Kumul is recognisable to Papua New Guinean audiences because it reflects their lifestyle and a worldview, which connects them to their beliefs and spirituality, and the larger cosmological order. Feedback from audience members indicated that the performance facilitated HIV and AIDS communication, increased people's awareness of HIV and AIDS, and encouraged behaviour change. Tellingly, in one performance venue, forty people queued for Voluntary Testing and Counseling immediately after the performance. Twenty of these people were tested on that night and the other twenty were tested the following day. Many of the volunteers were young men – a demographic historically difficult to engage in HIV testing. This encouraging result indicates that the Kumul folk opera form of applied theatre could be useful for facilitating communication and education regarding sexual health and safer sexual behaviours in Papua New Guinea. Feedback from participants, audience members and other research stakeholders suggests that the form might also be adapted to address other social and development issues, particularly in the areas of health and social justice.

Folk conceptions of humanness: Beliefs about distinctive and core human characteristics in Australia, Italy, and China

The present research explores cultural understandings of what it means to be human. We used open-ended responses to examine whether the most culturally salient aspects of humanness are captured by two theoretical dimensions: human uniqueness (HU) and human nature (HN). Australians, Italians, and Chinese (N = 315) showed differences in the characteristics considered human and in the emphasis placed on HU and HN. These findings contribute to developing cross-cultural folk psychological models of humanness.

Folk theory of social change

People have a folk theory of social change (FTSC). A typical Western FTSC stipulates that as a society becomes more industrialized, it undergoes a natural course of social change, in which a communal society marked by communal relationships becomes a qualitatively different, agentic society where market-based exchange relationships prevail. People use this folk theory to predict a society’s future and estimate its past, to understand contemporary cross-cultural differences, and to make decisions about social policies. Nonetheless, the FTSC is not particularly consistent with the existing cross-cultural research on industrialization and cultural differences, and needs to be examined carefully.

Inarinsaamen käsitemetaforat

This study discusses the conceptual metaphors of Inari Saami, an endangered, indigenous, Finno-Ugrian language spoken in northern Finland. The research focuses on systematical mappings between source and target domains in conventional Inari Saami metaphors and metonymies. The research material consists of the Inarinsaamen idiomisanakirja [Inari Saami idiom dictionary] which has been compiled by the author in collaboration with an Inari Saami co-author; the Inarilappisches Wörterbuch; Inarinsaamelaista kansantietoutta [Inari Saami folk knowledge]; and Aanaarkiela čájttuzeh [Inari Saami sample texts]. The metaphors and metonymies found in these literary sources are divided into categories on the basis of the target domains and according to the classic model of Lakoff ja Johnson (1980). This method reveals the systematical recurrence of source domains inside each category and thus discovers the systematical patterns of metaphoric mapping, the conceptual metaphors . As a result 44 conceptual metaphors and 16 conceptual metonymies are presented through approximately 500 glossed examples. These findings are discussed against the background of what is known about the cognitive and neural processing of metaphors on the one hand, and what is known about Inari Saami culture on the other. This theoretical framework highlights culture as the underlying force behind conceptual metaphors. The recurring metonymies seem to follow a culturally salient indexicality. For example, the Inari Saami conceptual metonymy TIME IS NATURE reflects the seasonal changes in the year s cycle, which was the salient index of time in traditional Inari Saami culture. The recurring metaphors, for their part, follow a culturally salient iconicity. The conceptual metaphor PRIDE IS ANTLERS is based on an iconicity which is experienced and interpreted by the Inari Saami. A proud person is associated with a reindeer who shows off his impressive antlers. The conceptual metaphor/metonymy seems to be a reflection of culture rather than a cognitive means of understanding an abstract domain in terms of a concrete domain, as hypothesized by certain theoreticians. Repeating this study with other languages may lead to the possibility of typologizing the metaphorical systems of the world s languages and understanding the diversity of metaphor systems in the endangered languages of the world.

How to Succeed in Knowledge Transfer : Case Study of Scandinavian Alliance in Ukraine

The current study of Scandinavian multinational corporate subsidiaries in the rapidly growing Eastern European market, due to their particular organizational structure, attempts to gain some new insights into processes and potential benefits of knowledge and technology transfer. This study explores how to succeed in knowledge transfer and to become more competitive, driven by the need to improve transfer of systematic knowledge for the manufacture of product and service provisions in newly entered market. The scope of current research is exactly limited to multinational corporations, which are defined as enterprises comprising entities in two or more countries, regardless of legal forms and field of activity of those entities, and which operate under a system of decision-making permitting coherent policies and a common strategy through one or more decision-making centers. The entities are linked, by ownership, and able to exercise influence over the activities of the others; and, in particular, to share the knowledge, resources, and responsibilities with others. The research question is "How and to which extent can knowledge-transfer influence a company's technological competence and economic competitiveness?" and try to find out what particular forces and factors affect the development of subsidiary competencies; what factors influence the corporate integration and use of the subsidiary's competencies; and what may increase competitiveness of MNC pursuing leading position in entered market. The empirical part of the research was based on qualitative analyses of twenty interviews conducted among employees in Scandinavian MNC subsidiary units situated in Ukraine, using structured sequence of questions with open-ended answers. The data was investigated by comparison case analyses to literature framework. Findings indicate that a technological competence developed in one subsidiary will lead to an integration of that competence with other corporate units within the MNC. Success increasingly depends upon people's learning. The local economic area is crucial for understanding competition and industrial performance, as there seems to be a clear link between the performance of subsidiaries and the conditions prevailing in their environment. The linkage between competitive advantage and company's success is mutually dependent. Observation suggests that companies can be characterized as clusters of complementary activities such as R&D, administration, marketing, manufacturing and distribution. Study identifies barriers and obstacles in technology and knowledge transfer that is relevant for the subsidiaries' competence development. The accumulated experience can be implemented in new entered market with simple procedures, and at a low cost under specific circumstances, by cloning. The main goal is focused to support company prosperity, making more profits and sustaining an increased market share by improved product quality and/or reduced production cost of the subsidiaries through cloning approach. Keywords: multinational corporation; technology transfer; knowledge transfer; subsidiary competence; barriers and obstacles; competitive advantage; Eastern European market

Ystävä sä lapsien : Lasten virret ja hengelliset laulut suomenkielisissä kokoelmissa 1824-1938 ja niiden vaikutus vuoden 1938 virsikirjaan

Ystävä sä lapsien. Collections of Finnish language children s hymns and spiritual songs from 1824─1938 and their influence on the Hymnal 1938. The Hymnal has been the common song book of Lutheran parishes since the 1500s. In the beginning, the congregations sang the hymns from memory led by the choir or the church musician. The fundamentals of Christian faith are taught through the hymns, both in church and in family devotions. The Hymnal was the only song book of the church in Finland until the end of the 1800s. This study attempts to clarify when and by who were spiritual songs and hymns for children written in Finland. Research materials used were all the books I could find (approximately 200), whose headings were for pupils and young children in the home and school circles. The method of study is historical and analytical. In the first chapter, it is explained that children s literature in Finland differentiated from other literature at the end of the 1700s. Eric Juvelius published a small prayer book in 1781 with the prayer Gud, som hafver barnen kär / Jumala joka Lapsia rakasta. From that, after many Finnish translations, the first verse of the hymn Ystävä sä lapsien took shape. The second chapter considers singing instruction in the folk school from the beginning of the 1860s. Textbooks, including songbooks, were produced for the pupils. Some of the first pioneers in producing these materials were the teachers P.J. Hannikainen, Sofie Lithenius, Mikael Nyberg, Anton Rikström and Aksel Törnudd, as well as Hilja Haahti, Immi Hellén and Alli Nissinen, who were all teachers gifted in writing poetry. Several new spiritual songs appeared in the folk school songbooks. Hymns were sung often, especially in connection with church year celebrations. Children s songs in Christian education are discussed in the third chapter. The Lutheran Evangelical Association of Finland recognized children already in its early song collections. The illustrative teaching methods in the folk school influenced the Sunday school activities and especially the Sunday school hymns. Hymns introduced as exclusively for children and pupils which appear in the Hymnal from 1886 and the supplement to the 1923 Hymnal are explored in the fourth and fifth chapters. The study shows that the renewal of church life at the beginning of the 1900s also resulted in an increase of the number of spiritual songs for children. This is also seen in the diverse choice of songs in the supplementary materials from 1923. The final chapter deals with the School and Childhood section of the 1938 Hymnal. The Hymnal committee did not think that the already well known folk school and Sunday school songs received enough attention in the Hymnal. Those songs were, among others, Kautta tyynen, vienon yön, Oi, katsopa lintua oksalla puun, Olen Luojani pikku varpunen, Rakas Isä taivahan ja Tuolla keinuu pieni pursi. Heikki Klemetti, Ilmari Krohn, Armas Maasalo and Aarni Voipio influenced the opinion that the spiritual songs still were not suitable to be sung in church. Hymns for children and pupils were brought into the same line as the entire Hymnal. The same hymn tunes, which were mainly old ones, were used as common settings for numerous hymn texts. No special type of melody emerged for the children s hymns. It was still notable that hymns for children and pupils were collected at all. In addition, the Hymnal committee marked those verses suggested for singing in both the folk school and Sunday school with an asterisk (*) throughout the entire Hymnal.

‘Enough is enough’: Songs and messages about alcohol in remote Central Australia

This article examines some of the ways in which Australia’s First Peoples have responded to serious community health concerns about alcohol through the medium of popular music. The writing, performing and recording of popular songs about alcohol provide an important example of community-led responses to health issues, and the effectiveness of music in communicating stories and messages about alcohol has been recognised through various government-funded recording projects. This article describes some of these issues in remote Australian Aboriginal communities, exploring a number of complexities that arise through arts-based ‘instrumentalist’ approaches to social and health issues. It draws on the author’s own experience and collaborative work with Aboriginal musicians in Tennant Creek, a remote town in Australia’s Northern Territory.