The pervasive use of media at current-day festivals thoroughly impacts how these live events are experienced, anticipated, and remembered. This empirical study examined event-goers’ live media practices – taking photos, making videos, and in-the-moment sharing of content on social media platforms – at three large cultural events in the Netherlands. Taking a practice approach (Ahva 2017; Couldry 2004), the author studied online and offline event environments through extensive ethnographic fieldwork: online and offline observations, and interviews with 379 eventgoers. Analysis of this research material shows that through their live media practices eventgoers are continuously involved in mediated memory work (Lohmeier and Pentzold 2014; Van Dijck 2007), a form of live storytelling thatrevolves around how they want to remember the event. The article focuses on the impact of mediated memory work on the live experience in the present. It distinguishes two types of mediatised experience of live events: live as future memory and the experiential live. The author argues that memory is increasingly incorporated into the live experience in the present, so much so that, for many eventgoers, mediated memory-making is crucial to having a full live event experience. The article shows how empirical research in media studies can shed new light on key questions within memory studies.
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Introduction: A trauma resuscitation is dynamic and complex process in which failures could lead to serious adverse events. In several trauma centers, evaluation of trauma resuscitation is part of a hospital's quality assessment program. While video analysis is commonly used, some hospitals use live observations, mainly due to ethical and medicolegal concerns. The aim of this study was to compare the validity and reliability of video analysis and live observations to evaluate trauma resuscitations. Methods: In this prospective observational study, validity was assessed by comparing the observed adherence to 28 advanced trauma life support (ATLS) guideline related tasks by video analysis to life observations. Interobserver reliability was assessed by calculating the intra class coefficient of observed ATLS related tasks by live observations and video analysis. Results: Eleven simulated and thirteen real-life resuscitations were assessed. Overall, the percentage of observed ATLS related tasks performed during simulated resuscitations was 10.4% (P < 0.001) higher when the same resuscitations were analysed using video compared to live observations. During real-life resuscitations, 8.7% (p < 0.001) more ATLS related tasks were observed using video review compared to live observations. In absolute terms, a mean of 2.9 (during simulated resuscitations) respectively 2.5 (during actual resuscitations) ATLS-related tasks per resuscitation were not identified using live observers, that were observed through video analysis. The interobserver variability for observed ATLS related tasks was significantly higher using video analysis compared to live observations for both simulated (video analysis: ICC 0.97; 95% CI 0.97-0.98 vs. live observation: ICC 0.69; 95% CI 0.57-0.78) and real-life witnessed resuscitations (video analyse 0.99; 95% CI 0.99-1.00 vs live observers 0.86; 95% CI 0.83-0.89). Conclusion: Video analysis of trauma resuscitations may be more valid and reliable compared to evaluation by live observers. These outcomes may guide the debate to justify video review instead of live observations.
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We bevinden ons in een snel veranderend medialandschap. Technologische ontwikkelingen zorgen voor veranderingen in het mediagedrag van de consument. On demand kijken is volledig ingeburgerd en zeker Millennials kijken nauwelijks nog op een lineaire manier televisie. Live sport lijkt een uitzondering en een garantie voor hoge kijkcijfers. Vanwege de real time suspense vormt sport namelijk een uitzondering op de regel. Het is dan ook niet gek dat de strijd om sportuitzendrechten heviger is dan ooit. De concurrentie komt daarbij niet langer alleen van collega-mediabedrijven, ook nieuwe en niet-traditionele mediapartijen mengen zich in de strijd.
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While live event experiences have become increasingly mediatized, the prevalence of ephemeral content and diverse forms of (semi)private communication in social media platforms have complicated the study of these mediatized experiences as an outsider. This article proposes an ethnographic approach to studying mediatized event experiences from the inside, carrying out participatory fieldwork in online and offline festival environments. I argue that this approach both stimulates ethical research behavior and provides unique insights into mediatized practices. To develop this argument, I apply the proposed methodology to examine how festival-goers perceive differences between public and private, permanent and ephemeral when sharing their live event experiences through social media platforms. Drawing on a substantial dataset containing online and offline participant observations, media diaries, and (short in situ and longer in-depth) interviews with 379 event-goers, this article demonstrates the value of an ethnographic approach for creating thick descriptions of mediatized behavior in digital platforms.
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Live blogs are a popular format for covering crises, breaking news, politics, or sports events. Despite their popularity among journalists and the public, the format has also been subject to scholarly debate regarding the conflict between immediacy versus credibility, resulting in a high degree of uncertainty for producers and consumers. Journalists cope with this paradox by performing discourse: imposing valid and persuasive representations of the social world. One way to do so is by the use and representation of sources. In this paper, we uncover the performative discourse of live blogs through possible patterns of sourcing and discursive strategies among a range of live blogs and the way journalists cope with the mix of speed and uncertainty. Based on a quantitative content analysis of nine Dutch live blogs, we conclude that journalists follow the same conventions and routines as regular (online) articles. Despite the possibilities for polyvocality (more and different voices in live blogs) due to the accessibility by social media, journalists choose predominantly formal sources and report their speech predominantly in a direct way.
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This thesis contextualises the portfolio of relevant works that Than van Nispen created during the period of his Master of Music studies from 2014 to 2016.The projects described involve interactive live instrumental music, which is the subject of the thesis, and the interactive music is mainly based on video-game music methods. The projects that do not have an interactive system for the music at least have a set of rules for play and interaction for, or with the music.A focus of this Master of Music studies is the exploration of solutions for interactive music, based on game music methods, with the use of traditional music notation.
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Live programming is a style of development characterized by incremental change and immediate feedback. Instead of long edit-compile cycles, developers modify a running program by changing its source code, receiving immediate feedback as it instantly adapts in response. In this paper, we propose an approach to bridge the gap between running programs and textual domain-specific languages (DSLs). The first step of our approach consists of applying a novel model differencing algorithm, tmdiff, to the textual DSL code. By leveraging ordinary text differencing and origin tracking, tmdiff produces deltas defined in terms of the metamodel of a language. In the second step of our approach, the model deltas are applied at run time to update a running system, without having to restart it. Since the model deltas are derived from the static source code of the program, they are unaware of any run-time state maintained during model execution. We therefore propose a generic, dynamic patch architecture, rmpatch, which can be customized to cater for domain-specific state migration. We illustrate rmpatch in a case study of a live programming environment for a simple DSL implemented in Rascal for simultaneously defining and executing state machines.
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What kinds of live music are available to the citizens of the cities of Groningen and Utrecht? That is the main question in two research projects, of which the databases have been made accessible in the Dataverse City Musicscapes (Lelieveldt & Bisschop Boele, 2018). At first sight databases of statistical research offices provide researchers with clear data about the number of venues and concerts and the participation of audiences (Gemeente Utrecht 2017, Van den Broek 2014). When looking closer we find that in these statistics only the regular (and mainly publicly funded) music venues are included. The authors’ projects show that a substantial part (53–60%) of live music concerts take place on non-regular locations, such as cafés, restaurants, clubs, churches, shopping malls and in open air. They developed a research tool to be able to draw a map of the musical landscape of a city (Musicscape). In this article we will reflect on the goals, research methods, datasets and some results from analysing our datasets. We hope this contributes to the discussion with scholars, music producers and policy makers about the added value of the concept of Musicscapes for the understanding of cultural participation, music performing practices and cultural policies.
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