BACKGROUND: There is conflicting evidence on the benefits of foods rich in vitamin E (alpha-tocopherol), n-3 polyunsaturated fatty acids (PUFA), and their pharmacological substitutes. We investigated the effects of these substances as supplements in patients who had myocardial infarction. METHODS: From October, 1993, to September, 1995, 11,324 patients surviving recent (< or = 3 months) myocardial infarction were randomly assigned supplements of n-3 PUFA (1 g daily, n=2836), vitamin E (300 mg daily, n=2830), both (n=2830), or none (control, n=2828) for 3.5 years. The primary combined efficacy endpoint was death, non-fatal myocardial infarction, and stroke. Intention-to-treat analyses were done according to a factorial design (two-way) and by treatment group (four-way). FINDINGS: Treatment with n-3 PUFA, but not vitamin E, significantly lowered the risk of the primary endpoint (relative-risk decrease 10% [95% CI 1-18] by two-way analysis, 15% [2-26] by four-way analysis). Benefit was attributable to a decrease in the risk of death (14% [3-24] two-way, 20% [6-33] four-way) and cardiovascular death (17% [3-29] two-way, 30% [13-44] four-way). The effect of the combined treatment was similar to that for n-3 PUFA for the primary endpoint (14% [1-26]) and for fatal events (20% [5-33]). INTERPRETATION: Dietary supplementation with n-3 PUFA led to a clinically important and statistically significant benefit. Vitamin E had no benefit. Its effects on fatal cardiovascular events require further exploration.
In an unblinded trial of intravenous streptokinase (SK) in early acute myocardial infarction, 11 806 patients in one hundred and seventy-six coronary care units were enrolled over 17 months. Patients admitted within 12 h after the onset of symptoms and with no contraindications to SK were randomised to receive SK in addition to usual treatment and complete data were obtained in 11 712. At 21 days overall hospital mortality was 10.7% in SK recipients versus 13% in controls, an 18% reduction (p = 0.0002, relative risk 0.81). The extent of the beneficial effect appears to be a function of time from onset of pain to SK infusion (relative risks 0.74, 0.80, 0.87, and 1.19 for the 0-3, 3-6, 6-9, and 9-12 h subgroups). SK seems to be a safe drug for routine administration in acute myocardial infarction.
In 1993, Rensselaer introduced the first Studio Physics course. Two years later, the Force Concept Inventory (FCI) was used to measure the conceptual learning gain 〈g〉 in the course. This was found to be a disappointing 0.22, indicating that Studio Physics was no more effective at teaching basic Newtonian concepts than a traditional course. Our study verified that result, 〈gFCI,98〉=0.18±0.12 (s.d.), and thereby provides a baseline measurement of conceptual learning gains in Studio Physics I for engineers. These low gains are especially disturbing because the studio classroom appears to be interactive and instructors strive to incorporate modern pedagogies. The goal of our investigation was to determine if incorporation of research-based activities into Studio Physics would have a significant effect on conceptual learning gains. To measure gains, we utilized the Force Concept Inventory and the Force and Motion Conceptual Evaluation (FMCE). In the process of pursuing this goal, we verified the effectiveness of Interactive Lecture Demonstrations [〈gFCI〉=0.35±0.06 (s.d.) and 〈gFMCE〉=0.45±0.03 (s.d.)] and Cooperative Group Problem Solving (〈gFCI〉=0.36 and 〈gFMCE〉=0.36), and examined the feasibility of using these techniques in the studio classroom. Further, we have assessed conceptual learning in the standard Studio Physics course [〈gFCI,98〉=0.18±0.12 (s.d.) and 〈gFMCE,98〉=0.21±0.05 (s.d.)]. In this paper, we will clarify the issues noted above. We will also discuss difficulties in implementing these techniques for first time users and implications for the future directions of the Studio Physics courses at Rensselaer.
Consider the vast array of things around you, from the building you are in, the lights illuminating the interior, the computational devices mediating your life, the music in the background, even the crockery, furniture and glassware you are in the presence of. Common to all these objects is that their concrete, visual and technological forms were invariably conceived, modelled, finished and tested in sites characterised as studios. Remarkably, the studio remains a peculiar lacuna in our understanding of how cultural artefacts are brought into being and how ‘creativity’ operates as a located practice. Studio Studies is an agenda setting volume that presents a set of empirical case studies that explore and examine the studio as a key setting for aesthetic and material production. As such, Studio Studies responds to three contemporary concerns in social and cultural thought: first, how to account for the situated nature of creative and cultural production; second, the challenge of reimagining creativity as a socio-materially distributed practice rather than the cognitive privilege of the individual; and finally, to unravel the parallels, contrasts and interconnections between studios and other sites of cultural-aesthetic and technoscientific production, notably laboratories. By enquiring into the operations, topologies and displacements that shape and format studios, this volume aims to demarcate a novel and important object of analysis for empirical social and cultural research as well to develop new conceptual repertoires to unpack the multiple ways studio processes shape our everyday lives.
PROBLEM: Engaging communities in research increases its relevance and may speed the translation of discoveries into improved health outcomes. Many researchers lack training to effectively engage stakeholders, whereas academic institutions lack infrastructure to support community engagement. APPROACH: In 2009, the Meharry-Vanderbilt Community-Engaged Research Core began testing new approaches for community engagement, which led to the development of the Community Engagement Studio (CE Studio). This structured program facilitates project-specific input from community and patient stakeholders to enhance research design, implementation, and dissemination. Developers used a team approach to recruit and train stakeholders, prepare researchers to engage with stakeholders, and facilitate an in-person meeting with both. OUTCOMES: The research core has implemented 28 CE Studios that engaged 152 community stakeholders. Participating researchers, representing a broad range of faculty ranks and disciplines, reported that input from stakeholders was valuable and that the CE Studio helped determine project feasibility and enhanced research design and implementation. Stakeholders found the CE Studio to be an acceptable method of engagement and reported a better understanding of research in general. A tool kit was developed to replicate this model and to disseminate this approach. NEXT STEPS: The research core will collect data to better understand the impact of CE Studios on research proposal submissions, funding, research outcomes, patient and stakeholder engagement in projects, and dissemination of results. They will also collect data to determine whether CE Studios increase patient-centered approaches in research and whether stakeholders who participate have more trust and willingness to participate in research.
In recent years, various forces within and outside the music industry - record producers, hardware and software suppliers, and Internet service providers - have created techniques and tools that allow recording studios in remote locations to be networked in ever more complex and intimate ways. The effort behind the creation of the ‘network studio’ is, in part, the result of an overall progression in the historical development of the tools, architectures and practices of the contemporary recording studio. Studios do not exist in a musical or cultural vacuum, however: traditionally, music scenes, session musicians, and local aesthetics and practices have played an important role in the development of specific approaches to recording and have had an influence on the resulting sounds. But the rise of the network studio raises fundamental questions about such relationships and about the role of space and place in sound recording and, in this regard, can be considered as an expression of larger tendencies described within various theories of globalization. This paper addresses how the emergence of the network studio, with its emphasis on standardized technologies and practices and its reliance on the virtual space of network communications, may have an impact upon and/or work alongside conventional recording studio practices
Product innovation is the key revenue driver in the motion picture industry. Because major studios typically launch fewer than 20 movies per year, the financial performance of a single release can have a major effect on the studio's profitability. In this paper we study how single movie releases impact the investor valuation of the studio. We analyze the change in postlaunch stock price and predict the direction and magnitude of excess returns based on the revenue expectation built up for a movie release. That expectation is set, in part, by media support; i.e., highly advertised movies are expected to draw larger audiences than others. By using an event-study methodology, we isolate the impact of a movie launch on studio stock price and track the determinants of that change. We examine a comprehensive data set comprising over 300 movies released by the largest studios. Our results indicate a clear interaction between the marketing support received by a movie and the direction and magnitude of its excess stock return post launch. Movies with above average prelaunch advertising have lower postlaunch stock returns than films with below average advertising. Our findings also suggest that movies that are hits at the box office may result in a lowering of stock price if they had high media support because of high performance expectations built up prior to launch. Thus prelaunch advertising plays a dual role of informing consumers about a movie's arrival as well as helping investors form expectations about the studio's profit performance.
The studio-based method of teaching has been used for almost 100 years to teach product and architecture design. With ever increasing pressure on HCI to teach competence in designing interactive objects, new ways of teaching need to be explored. This article begins with a review of the studio-based teaching concept and how it has been used in architecture, science/engineering, and computer science education. We then present and discuss the evaluation of an HCI design studio course which we created and taught in spring 2002 in the Computer and Information Science Department of the University of Oregon. This course was based on our observations and study of studio courses in the School of Architecture. Finally, we review general issues about studio teaching including the promises and challenges that it presents to widespread acceptance in the computer science curriculum.
While the demand for college graduates with computing skills continues to rise, such skills no longer equate to mere programming skills. Modern day computing jobs demand design, communication, and collaborative work skills as well. Since traditional instructional methods in computing education tend to focus on programming skills, we believe that a fundamental rethinking of computing education is in order. We are exploring a new "studio-based" pedagogy that actively engages undergraduate students in collaborative, design-oriented learning. Adapted from architectural education, the studio-based instructional model emphasizes learning activities in which students (a) construct personalized solutions to assigned computing problems, and (b) present solutions to their instructors and peers for feedback and discussion within the context of "design crits." We describe and motivate the studio-based approach, review previous efforts to apply it to computer science education, and propose an agenda for multi-institutional research into the design and impact of studio-based instructional models. We invite educators to participate in a community of research and practice to advance studio-based learning in computing education.
TABLE OF CONTENTS INTRODUCTION PART I :The Rise of the Studio System, 1895 1930 Introduction to Part 1 -- The Making of a Studio System 1 - Adolph Zukor & Paramount 2 - Loew's/MGM 3 - Fox 4 - Warner Bros. 5 - RKO 6 - Universal, Columbia, & UA 7 - the Hays Office & the Academy PART II The Theatrical Era, 1930s, 1940s & 1950s Preface to Part 2 -- Studio Monopoly Power 8 - Paramount 9 - Loew's/MGM 10 - Twentieth Century Fox 11 - Warner Bros 12 - RKO & Disney 13: Universal, Columbia, & UA 14: Republic & Monogram 15: The Hays & Johnston Offices 16 - The Rise of Unions PART III The Rise of a New Studio System, 1960s-1980s Preface to Part 3 -- The New Studio System 17 - Universal & MCA 18 - Paramount & Gulf + Western 19 - Warner Communications 20 - Twentieth Century Fox 21 - Disney 22 - Columbia & Coca-Cola 23 - Failures 24 - Valenti & MPAA 25 - Unions & Agents CODA The Media Conglomerate System
The first edition of this bestseller was featured in The New York Times and The Boston Globe for its groundbreaking research on the positive effects of art education on student learning across the curriculum. Capitalising on observations and conversations with educators who have used the Studio Thinking Framework in diverse settings, this expanded edition features new material, including: The addition of Exhibitions as a fourth Studio Structure for Learning (along with Demonstration-Lecture, Students-at-Work, and Critique). Explanation and examples of the dispositional elements of each Habit, including skill, alertness (noticing appropriate times to put skills to use), and inclination (the drive or motivation to employ skills). A chart aligning Habits to the English Language Arts and Mathematics Common Core. Descriptions of how the Framework has been used inside and outside of schools in curriculum planning, teaching, and assessment across arts and non-arts disciplines. A full-colour insert with new examples of student art. Studio Thinking 2 will help advocates explain arts education to policymakers, help art teachers develop and refine their teaching and assessment practices, and assist educators in other disciplines to learn from existing practices in arts education.
The Film Studio sheds new light on the evolution of global film production, highlighting the role of film studios worldwide. The authors explore the contemporary international production environment, alleging that global competition is best understood as an unequal and unstable partnership between the 'design interest' of footloose producers and the 'location interest' of local actors. Ben Goldsmith and Tom O'Regan identify various types of film studios and investigate the consequences for Hollywood, international film production, and the studio locations.
Abstract Combinations of Conventional Studio and Virtual Design Studio (VDS) have created valuable learning environments that take advantage of different instruments of communication and interaction. However, past experiences have reported limitations in regards to student engagement and motivation, especially when the studio projects encourage abstraction or are detached from context or reality. This study proposes a hybrid approach that overcomes these limitations by blending conventional studio, VDS and live projects. This blend aims to foster opportunities from within a real design situation, while promoting different levels of motivation and engagement. Two case studies comprising academic projects between the University of Los Andes, Colombia and the University of Nottingham, UK were used to validate the approach. In these, students interacted with peers, teachers, people from industry and the community to build 1:1 scale projects, with budgets and timeframe constraints. The study proved that students could successfully work collaboratively and build confidence in their own abilities when placed in a real setting, which enabled interactions face‐to‐face and at a distance to solve a challenge and achieve a common goal. The article reports on lessons learnt from these collaborative learning experiences, which reflect on contemporary cross‐cultural design practiced today.
Boosting the bass guitar, blending the vocals, overdubbing percussion while fretting over shoot-outs in the street, grumbling about a producer, teasing a white engineer, challenging an artist to feel his African beat - Sound of Africa! is a riveting account of the production of a mbaqanga album in a state-of-the-art recording studio in Johannesburg. Made popular internationally by Mahlathini and the Mahotella Queens, mbaqanga's distinctive style features a bass solo voice and soaring harmonies of a female frontline over electric guitar, bass, keyboard, and drumset. Louise Meintjes chronicles the recording and mixing of an album by Izintombi Zesimanje, historically the rival group of the Mahotella Queens. Set in the early 1990s during South Africa's tumultuous transition from apartheid to democratic rule, Sound of Africa! offers a rare portrait of the music recording process. It tracks the nuanced interplay among South African state controls, the music industry's transnational drive, and the mbaqanga artists' struggles for political, professional, and personal voice. Focusing on the ways artists, producers, and sound engineers collaborate in the studio control room, Meintjes reveals not only how particular mbaqanga sounds are shaped technically, but also how egos and artistic sensibilities and race and ethnicity influence the mix. She analyzes how the turbulent identity politics surrounding Zulu ethnic nationalism impacted mbaqanga artists' decisions in and out of the studio. Conversely, she explores how the global consumption of Afropop and African images fed back into mbaqanga during the recording process. Meintjes is especially attentive to the ways the emotive qualities of timbre (sound quality or tone color) forge complex connections between aesthetic practices and political ideology. Vivid photos by the internationally renowned photographer TJ Lemon further dramatize Meintjes' ethnography.
Utilizing an educational concept known as the hidden curriculum to analyze the design studio, the author argues that there is a rough correspondence between schooling and larger societal practices, where the selection of knowledge and the ways in which school social relations are structured to distribute such knowledge, are influenced by forms and practices of power in society. Asymmetrical relations of power are reproduced in schools and classrooms, including the design studio. In response, the author has been experimenting with a transformative pedagogy for the design studio, attempting to set up the conditions to investigate not only the many issues of design, but the nature of design education itself, especially with regard to how knowledge is produced and disseminated, how social relations are structured, and how students and the professor come to see their roles in these activities.
Abstract The design studio has been, and will probably continue to be, the cornerstone of design education. Its major feature is the one-on-one desk critique (crit), in which student and teacher discuss the student's work in progress on a regular and frequent basis. The studio is a learning by doing environment, and the crit is the setting in which students acquire design skills and knowledge, under the guidance of the teacher. Design teachers are usually practitioners who receive no pedagogical training, and the effectiveness of their teaching depends on experience, awareness, and talent. Here we offer a detailed qualitative and quantitative representation of the crit through analyses of three case studies, which were collected in second-year architectural studios. We use two types of protocol analysis methods: coding of verbalizations and linkography, which looks at links among verbalizations. We show the diversity in teachers' performance and point to common trends. We propose that analyses of this kind may serve as a major feedback instrument in the framework of a badly needed pedagogical basis for design education.
<JATS1:p>Despite being one of the biggest industries in the United States, indeed the World, the internal workings of the 'dream factory' that is Hollywood is little understood outside the business. The Hollywood Studio System: A History is the first book to describe and analyse the complete development, classic operation, and reinvention of the global corporate entitles which produce and distribute most of the films we watch. Starting in 1920, Adolph Zukor, Head of Paramount Pictures, over the decade of the 1920s helped to fashion Hollywood into a vertically integrated system, a set of economic innovations which was firmly in place by 1930. For the next three decades, the movie industry in the United States and the rest of the world operated by according to these principles. Cultural, social and economic changes ensured the dernise of this system after the Second World War. A new way to run Hollywood was required. Beginning in 1962, Lew Wasserman of Universal Studios emerged as the key innovator in creating a second studio system. He realized that creating a global media conglomerate was more important than simply being vertically integrated. Gomery's history tells the story of a 'tale of two systems 'using primary materials from a score of archives across the United States as well as a close reading of both the business and trade press of the time. Together with a range of photographs never before published the book also features over 150 box features illuminating aspect of the business.</JATS1:p>
STUDIO EDUCATION, central to architectural training in the US for most of the twentieth century, is a provocative and fruitful model for engineering and software design education. The architecture studio, an American adaptation of the atelier-based training at the Ecole des Beaux-Arts in 19 th Century Paris [1], offers us a teaching model from a design discipline in which the functional and the structural, the social and the technical, must be successfully blended [2, 3]. A look at the central features of the architecture design studio indicate some interesting possibilities for design education in other technical fields.
With the recent advancements in digital technologies, the design studios are transformed to virtual environments that offer both to design students and instructors a broader perspective in understanding the design process. As an integral part of design process, the supporting virtual tools enhance creativity in basic design studios. This study examines the influence of immersive and non-immersive virtual design environments on design process creativity in the first year basic design studio, through observing the factors related to creativity as the flow state and motivation. Consequently, an experiment is conducted to investigate the relationships between spatial ability, flow state and motivation in immersive and non-immersive virtual design environments. Forty-two first-year undergraduate basic design students participated in the experiment. The data analysis demonstrated that the immersive virtual design environment facilitates participants’ design process creativity more than the non-immersive one. Also, the findings indicated a positive strong correlation between motivations and flow state and a positive weak correlation between spatial ability and flow state. Study results contributed to a greater understanding of implementing immersive virtual reality as a creativity supporting tool.
New Trends in Architectural Education presents a wide range of innovative concepts and practical methods for teaching architectural design, together with examples of different studio teaching. It traces the roots of architectural education, several disparate ideas, and strategies of design teaching practices including the Ecole Des Beaux-Arts and the Bauhaus. This book offers a comparative analysis of contemporary trends that are committed to shaping and identifying studio objectives and processes. It explores different aspects of studio teaching and what impact they have on attitudes, skills, methods, and tools of designers. New Trends in Architectural Education calls for a fresh look at design education in architecture, where the author proposes an approach within which architectural educators can envision and evaluate the needs of future architects and the type of education that satisfies those needs.