12/7/2022 0 Comments Cerebrum dispersio rocksmith![]() ![]() Data were analysed as dichotomous or continuous outcomes, using odds ratios (OR), weighted or standardised mean difference, (WMD or SMD) using random-effects models with 95% confidence intervals (95% CI) statistical heterogeneity was assessed.Įleven completed trials (n=329) were identified. Outcomes included functional outcome (assessed as combined death or disability/dependency), safety (death) and haemodynamic measures. Amphetamine can improve outcome in experimental models of stroke, and several small clinical trials have assessed its use in stroke.Įlectronic searches were performed to identify randomised controlled trials of amphetamine in stroke (ischaemic or haemorrhagic). A multimodal approach traversing theory, practice, and discourse allows me to integrate formal readings of technological interfaces within grounded musicological analyses of production techniques and practices.The use of drugs to enhance recovery ("rehabilitation pharmacology") has been assessed. Furthermore, I combine my experience as an electronic music producer with ethnographic data from product specialists at Native Instruments and Ableton, game designers at Sony Santa Monica Studios, and digital musicians working across media. ![]() Cerebrum dispersio rocksmith software#As a result, my theoretical framework brings together various threads of new media theory, from the digital humanities (including science and technology studies, human-computer interaction, information theory, UX-design, and software studies) to musicology and sound studies. Additionally, I employ the term “ecology” to describe both a sociological phenomenon (to highlight the interconnected web of practices and techniques between various people and media), and a biological metaphor (to emphasize the anxieties about digital (un)sustainability that often form a basis of contemporary media design and practice). This allows me to examine trends in software and hardware design, shifts in both studio and stage performance, and connections between creative practices across media, including digital audio workstations (DAWs), MIDI and USB “controllers,” mobile apps for music production, and music video games. I use the concrete and conceptual lens of the interface-defined as the relational, experimental, and interactive processes that are constantly being negotiated between and among both technological platforms and devices, and social and cultural communities-as an analytical tool. In the age of what many have called “digital maximalism,” how do producers, designers, and consumers of sound navigate the increasingly thin lines between media formats, creative practices, and technological engagement within global capitalism? Moreover, how might these “interface aesthetics” reflect broader concerns about the place of the body and technology in increasingly shifting media ecologies? In this dissertation, I detail the increasingly networked environment through which digital audio producers work, from record production to sound in mobile media and video games. In turn, this logic of non-linearity and play has influenced both the design of digital audio software, as well as the use of hardware “controllers” for manipulating this software. The proliferation of “apps,” video games, and other forms of multimodal engagement with music production has introduced ludic structures into the creative process. ![]() Most noticeably, the shift from traditional recording studio environments to “ubiquitous computing” has allowed for the technical convergence of various media practices, from sound design to video games and multimedia art. With the rise of haptic interfaces for mobile computing, the techniques and practices of digital audio production have undergone significant changes. ![]()
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