![]() Allow for experimentation: Recognise that exploration, invention and a degree of risk taking is important in children’s play and that the burden should not fall on them always to be cautious or anxious, or to follow rules set by others.Ensure safety: Ensure children’s play in online spaces is safe, including by giving them control over who can contact them and supplying help when needed.No commercial exploitation: Reduce compulsive features designed to prolong user engagement or cultivate dependency on games, apps or platforms, so children’s immersive play is intrinsically motivated and freely chosen.Enable Open-Ended Play: Provide and enhance features that offer easy-to use pathways, flexibility and variety as these support children’s agency and encourage their imaginative, stimulating and open-ended play.Enhance Imagination: Prioritise creative resources and imaginative, open ended play over pre-determined pathways built on popularity metrics or driven by advertising or other commercial pressures.Be Welcoming: Prioritise digital features that are inclusive, sociable and welcoming to all, reducing hateful communication and forms of exclusion and reflecting multiple identities. ![]() To claim the label ‘Playful by Design’, digital products and services should adopt seven principles: #SPELUNKY 2 PS5 FREE#The team from 5 Rights Foundation and Digital Futures LSE set out ambitious expectations for children’s free play in all contexts. The Digital Futures Commission's A Vision of Free Play in a Digital World report that outlines the key qualities of "free play" for what "good" looks like in a digital world. She is an artist, writer, puzzle-maker, immersive environment and narrative designer who focuses on the playful intersections of arts, culture, and technology, especially in gaming. Hall, is an an artist, writer, puzzle-maker, immersive environment and narrative designer focusing on the playful intersections of arts, culture, and technology, especially in gaming. ![]() He has worked on Johann Sebastian Joust, Sportsfriends, and Mutazione. Zach Gage, who makes deep games that are easy to get into, like Really Bad Chess and SpellTower.ĭouglas Wilson, who is a co-owner of Die Gute Fabrik, a games studio based in Copenhagen, Denmark. Sarah Elmaleh, actor, consultant and event organizer with a passion for collaborative creation - both as a seasoned performer and as an advocate for best practices in the games industry. Nick Suttner, an independent game writer/designer/consultant, who has worked on games like Celeste, Bloodroots, and Carto.Īndy Nealen, a game creator and scholar, artist and music maker, architect and structural engineer, and professor of cinematic arts and computer science at USC. (And in many cases have added video games to the database after listening to the show.) We have included video games here, where we have them on the database. #SPELUNKY 2 PS5 TV#These awards also include board games, escape rooms and game-like TV series. This is the list of games they have picked as their Game of the Year 2018-2021. It's an amazing insight into the mind of people who understand and highlight how game/play mechanics can do unexpected, magical and surprising things. ![]() Eggplant: The Secret Lives of Games, is a podcast that offers a candid conversation with game creators that dives deep into the art, craft, and process of making games. ![]()
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For example, if the proposed measure is a questionnaire, the score on the measure should indicate the activity of the target process, and it must have strong psychometric properties. The second stage of validation requires demonstration that the level and change in level of the chosen mechanistic target can be Measured with the proposed measure (assay). This evidence may include references for the proposed measure, or theoretical support for the construct that the proposed measure is intended to assess. The first stage of validation requires a measure to be Identified within the field there must be theoretical support for the specific measure of the proposed mechanistic target or potential mechanism of behavior change. The SOBC Validation Process includes three important stages of evaluation for each proposed measure: Identification, Measurement, and Influence. Within the SOBC Measures Repository, researchers have access to measures of mechanistic targets that have been (or are in the processing of being) validated by SOBC Research Network Members and other experts in the field. WORKING MEMORY AND BACKWARD DIGIT SPAN VERIFICATIONThe experimental medicine approach involves: identifying an intervention target, developing measures to permit verification of the target, engaging the target through experimentation or intervention, and testing the degree to which target engagement produces the desired behavior change. The SOBC program aims to implement a mechanisms-focused, experimental medicine approach to behavior change research and to develop the tools required to implement such an approach. By integrating work across disciplines, this effort will lead to an improved understanding of the underlying principles of behavior change. The Science of Behavior Change (SOBC) program seeks to promote basic research on the initiation, personalization and maintenance of behavior change. The dependent measure, digit span, is the maximum number of digits correctly recalled. The task concludes after participants make errors for two trials in a row for a given digit span. WORKING MEMORY AND BACKWARD DIGIT SPAN TRIALAfter a failed trial (i.e., if any digits are missing and/or if the exact order of digits is wrong), the number of digits presented remains the same for the next trial. For both variants of the task, after each successfully completed trial, the number of digits presented increases by one for the next trial. In the backward-span variant, at the end of each list participants attempt to recall the digits in the reverse order they appeared. In the forward-span variant, at the end of each list participants attempt to recall the digits in the order they appeared by typing them via keypress. The task exists with two variants: forward-span and backward-span. WORKING MEMORY AND BACKWARD DIGIT SPAN SERIESOn each trial participants are presented with a series of digits appearing one at a time on a computer screen (e.g., 3, 4, 1, 2, 7, 8). Although the original version of this task was verbally administered, recent versions are generally administered via computer. The Digit Span Task is a simple behavioral measure of working memory capacity, the cognitive ability to store and manage information on a transient basis. ![]() ![]() ![]()
![]() ![]() The NEDs play an important part in assisting the Chair to fulfil their role by regularly and rigorously assessing the effectiveness of the board’s processes and activities. The board should not just be an executive team. Where the managing director is also the Chair, it is important that these two distinct roles are properly separated and that sufficient attention is given to carrying out the Chair’s role effectively. These activities are normally undertaken by the Chair, part of whose role is to manage board business and act as its facilitator and guide.
![]() ![]() Nor should they be considered only a pair of hands which make noise at the piano at the appropriate times. Best practice here is to avoid the situation entirely and ensure that interactions with your accompanist on the clock are friendly, timely, and productive.Īn important distinction to consider is that your accompanist, while a trained musician, is not your coach. ![]() Moreover, if a singer gains a negative reputation with an accompanist, that reputation will spread to other pianists, who will then avoid the singer in the future. Should one of their collaborators prove to be more trouble than they are worth, they are perfectly within their rights to cut ties with that singer. An accompanist is not obligated to work with you – more often than not, they do so because they want to. ![]() Music was not copied, the singer didn’t show up at the right time (or at all) with no call to inform them of the change in plans, singer ended up wasting the time during the practice session, etc. I’ve also heard horror stories, sometimes from those same accompanists, of times they have worked with a singer who ended up treating them poorly. I’ve had the fortune of working with accompanists who show up to practice sessions prepared, and ready to make progress. “ Accompanists are professionals and should be treated as such.” The following statement bears repeating – A good, sensitive accompanist is worth their weight in gold and the best way to ensure they continue working with you is to pay them what they’re worth reliably. While spending money on a well-trained collaborative pianist might seem difficult for the student singer, it is often worth the expense. My experience with accompanists in this regard is that you get what you pay for. A more practiced accompanist in a big city will charge more than the after-school piano teacher in a small town. An accompanist will charge their own rate based on time and their level of experience. Accompanists have bills to pay and possibly the easiest way to ensure a positive relationship with your accompanist is to pay them on a set schedule. Any cuts should be clearly marked, as should any special indications regarding tempos or interpretation.įor an accompanist, showing up to your lesson, recital, or practice session is not just about the joy of making excellent music – it’s their job. If in doubt about page turns, discuss with your private teacher. In this case, the music should be prepared in a binder with either sheet protectors or pages taped together so they can fold out to ensure easy readability and simple page turns. Sometimes in the case of auditions, the singer might not have a chance to work with the accompanist beforehand. Whatever their preference is should be honored and noted for future use. The best practice would be to address that concern from the beginning and just ask them how they prefer their music prepared when scheduling. ![]() Others will request that they be allowed to do the necessary preparations themselves and will request clean copies. Sometimes an accompanist will prefer that the singer bring all of the music in already prepared. It will save you time and money and keep the accompanist from feeling like their time is being wasted and their talents devalued.ĭifferent accompanists will prefer their music prepared in different ways. If your music is not yet learned, consider holding off on working with an accompanist until you will be able to work more productively. This is highly disrespectful of their time and talents. A rule of thumb I like to keep in mind is that you should be working with your accompanist when you both have something to gain from the time spent together.Īccompanists are sometimes treated just as the “hands” that provide the backup track. The same goes for working with an accompanist. However, the considerations contained within apply equally to any musician collaborating with an accompanist, especially when they are being paid.Īs with any endeavor, those who prepare ahead of time will do better than those who do not. To help the young singer learn some ground rules for a long-term collaboration with their pianist, the following might be considered as a guide.Ī Note – I am a singer, so I refer to singers in the article. Younger, more inexperienced singers might be tempted to neglect the accompanist in the glow of performance. However, despite the value of an accompanist’s ear and musicality, singers at times forget that they are people too and require care to ensure a positive relationship. Without a doubt, beyond any single technique a singer might choose to study, one of the most valuable assets a singer has at their disposal is a close working relationship with an excellent accompanist. ![]() |
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