Journal articles on the topic 'Electronic spreadsheets Effective teaching. Computers'

This paper compares the mathematics teaching practices of private and public high school teachers in Punjab. Two hundred public and 180 private school teachers were selected by using random sampling technique from district Sahiwal. The quantitative data was collected by using a Likert type 58 questionnaire items. The questionnaire consisted of six parts: mathematic teaching practices, mathematic effective students’ instruction, mathematic resources availability, use of mathematic resources, use of instructional techniques and evaluation techniques used by the teachers. The study indicated that private school teacher teach in cooperative environment, individual concentration, small group discussion and encourage students in mathematic classrooms as compared to public school teachers. They write equations to represent concept and then engage students in problem solving and practice computational skill as compared to public school teachers. Public school teachers highly believe that text book is primary instructional tool for teaching. They practice difficult problem by drill in their classes. Although Public school teachers are well trained, qualified and experienced yet they emphasize rote learning which is a big hurdle in conceptual understanding. Provision of material resources in public schools is high. Mathematic curriculum document, manipulative, measuring devices, and spreadsheets, worksheet calculators, teacher guide and computers as teaching resources are available in public schools. Whereas, helping books and calculators’ availability is better in private schools.

The rapid informatization process of the education system has created both the opportunities and the need for the use of e-books in education. E-books allow students to actively participate in the learning process, to personalize their learning, to gain new knowledge and to evaluate their own abilities. The e-textbook also enriches traditional forms of learning, encompassing a large amount of teaching and learning materials and stimulating the development of new teaching methods. In our opinion, it is time to switch to electronic and interactive formats in the development of electronic aids and textbooks in universities. One of the leading directions in the use of information and communication technologies today is the effective use of computers in educational activities. The main issue in implementing this activity is the selection of e-learning resources that will improve the quality of education.

It is almost impossible to perform academic activities, such as accessing study material or contacting lecturers and other teaching and learning processes, at an open distance learning institution without the use of computers and the internet. This article investigates and reports on the time taken by students with and without disabilities to complete certain tasks using the University of South Africa's learning management systems (LMS). The findings of the study indicate that the time taken by students with disabilities to finish tasks is much longer compared to the students without disabilities. The study established that well-developed e-learning platforms guarantee efficient and effective use by both students with and without disabilities. The study suggests that it is significant for all LMS stakeholders to be involved in the development of e-learning websites. This is to ensure that accessibility and usability of these websites are adhered to during the development of e-learning websites.

<p style="text-align: justify;">In Teaching and learning communication skills, we have a lot to choose from the world of technology: TV, CD Rom, Computers, C.A.L.L., the Internet, Electronic Dictionary, Email, Blogs and Audio Cassettes, Power Point, Videos, DVD’s or VCD’s. The last two decades have witnessed a revolution due to onset of technology, and has changed the dynamics of educational institutes, and has also influenced the educational system and the way people interact and work in the society. This rapid rising and development of information technology has offered a better pattern to explore the new teaching model. Using multimedia to create a context to teach communication skill has its unique advantages. As a result, technology plays a very important role in teaching communication skill. The present paper tries to analyze the necessity of multimedia technology to communication skill teaching and also brings out the problems faced by using these technologies. It also aims to make English teachers aware of the strategies to use it in an effective manner.</p>

The aim of this paper is to describe the process of solfège learning when assisted by computers. The research was conducted in the Länsi-Uusimaa Music Institute in Finland. The study focused on pupils’ attitudes, opinions, motivation, and learning-outcomes using computer-based music learning. We also examined how Solfeggio 1, the new electronic ear-training material, works. Jukka Louhivuori (1990) has examined the didactical questions of computer-assisted music education. He emphasized that learning music with a computer does not mean the replacement of “real” music. The notions of learning and teaching can change in quality, mainly in the area of “learning-by-doing” and “discovery learning” in the computer-assisted music classroom. It was found that computer-assisted music learning is more agreeable and effective than traditional music learning. Although results showed that we need a well-functioning, modern environment and a well-educated “researcher-teacher,” well-motivated pupils are the most important aspects.

Continuous technological development affects other possible areas of human activity, including the educational process. Current mass media such as press, radio, television, social networks, as well as new information and communication technologies and devices such as computers, tablets, mobile phones and interactive whiteboards are very often used in the educational process. Computer technology provides new and effective learning opportunities in the form of a variety of didactic electronic learning materials, interactive educational programs and applications that not only modernize lessons but also make them more illustrative and interesting. New technologies have also significantly changed teaching methods. All these facilities provide educators with a suitable environment to make their teaching more interesting, modern and efficient. These facilities allow students to learn any time outside school hours and at home. Using new media for language learning brings many advantages, but also several disadvantages. On the one hand, it is possible to present the curriculum more clearly, which results in students acquiring the content of the curriculum more quickly and efficiently. On the other hand, the design and creation of teaching material, the planning and organization of lessons require a lot of time from the teacher, as well as high-quality media and information-communication competences. The use of media in foreign language teaching has also changed the roles of teacher and student. Today’s teaching focuses on the student as an active part of the teaching process and not just as an object of teaching. Now, the teacher becomes the driving element of the lesson management. Different didactics summarize the concept of media differently. Some didactics perceive the medium as a purely electronic tool for technical education, while others include printed material such as pictures, graphics, but also visualizations and animations. In this article we would like to clarify the function of media in education, to explain some important concepts such as “media competence”, “blended learning” or “e-learning”. We will also summarize the advantages of using different media in the educational process as well as some of their functions. Various teaching programs and interactive didactic applications are currently used in pedagogical practice, which can also be used in foreign language teaching. Therefore, we will also focus on brief characteristics of some of them; describe their possibilities and ways of usage in education. We also provide a specific example of the appearance of an interactive German language lesson developed in Hot Potatoes. The example was created by a German language student at a computer science lesson in collaboration with a teacher. Tasks, such as this one, are used by the authors in the class and they are proved in practice.

Objective – To determine the information needs of nutrition, food science, and dietetics faculty members by specifically examining how they locate and access information sources and which scholarly journals are consulted for teaching, research, and current awareness; and identifying any perceived information service needs (e.g., training). Design – Online survey questionnaire. Setting – Four senior colleges within the City University of New York (CUNY) system. Subjects – Nutrition, food science, and dietetics faculty members. Methods – Using institutional websites and the assistance of relevant affiliated librarians, 29 full-time and adjunct nutrition, food science, and dietetics faculty members were identified at Queens College, Brooklyn College, Hunter College, and Lehman College (all part of the CUNY system). A survey was emailed in June and July 2007 and had 14 (48.4%) responses. The study was temporarily halted in late 2007. When resumed in January 2009, the survey was re-sent to the initial non-respondents; five additional responses were received for a final 65.5% (n=19) response rate. Main Results – The majority of respondents held a PhD in their field of study (63.1%), were full-time faculty (no percentage given), and female (89.5%). Information sources were ranked for usage by respondents, with scholarly journals unsurprisingly ranked highly (100%), followed by conference and seminar proceedings (78.9%), search engines (73.6%), government sources (68.4%), and information from professional organizations (68.4%). Respondents ranked the top ten journals they used for current awareness and for research and teaching purposes. Perhaps due to a lack of distinction by faculty in terms of what they use journals for, the two journal lists differ by only two titles. The majority browse e-journals (55.6%) rather than print, obtain access to e-journals through home or work computers (23.6%), and obtain access to print through personal collections (42.1%). Databases were cited as the most effective way to locate relevant information (63.1%); PubMed was the most heavily used database (73.7%), although Medline (via EBSCO), Science Direct, and Academic Search Premier were also used. Respondents were asked how they preferred to obtain online research skills (e.g., on their own, via a colleague, via a librarian, or in some other way). The linked data does not answer this question, however, and instead supplies figures on what types of sessions respondents had attended in the past (44.4% attended library instruction sessions, while others were self-taught, consulted colleagues, attended seminars, or obtained skills through their PhD research). Conclusion – Strong public interest in nutritional issues is a growing trend in the Western world. For those faculty members and scholars researching and teaching on nutrition and related areas, more work on their information needs is required. This study begins to address that gap and found that nutrition, food science, and dietetics faculty share strong similarities with researchers in medicine and the other basic sciences with regard to information needs and behaviours. The focus is on electronic journals, PubMed/Medline, and online access to resources. Important insights include the fact that print journals are still in modest use, researchers use grey literature (e.g., government sources) and other non-traditional formats (e.g., conference proceedings and electronic mail lists) as information sources, and training sessions need to be offered in a variety of formats in order to address individual preferences.

Purpose of the study.The aim is to create a technique targeted at the development of simulation skills in higher education environment, where students are competent in applying information technologies in economics. The relevance of the research lies in the fact that the existing methodological developments often focus on a specific software tool or methodology that cannot respond to all economic problems. A specialist in simulation modeling should possess integrative interdisciplinary knowledge from related scientific fields, for example, probability theory and mathematical statistics, higher mathematics, be familiar with other methods of solving economic problems: linear, nonlinear, dynamic programming, optimization; show proficiency in structural and functional analysis; be able to explore complex processes and systems comprehensively.Materials and methods.The following pedagogical approaches and teaching methods were implemented in this research: ● a systematic approach to solving complex problems based on the modelling economic objects as systems operating in a certain environment, ● activity approach to develop students’ professional competences in the process of creation, debugging and optimization of computer models of economic systems; ● problem teaching method in the framework of research and analysis of educational problems of the subject area; ● implemented interactive teaching methods; ● multimedia methods in the content of teaching materials of the discipline, including electronic manuals, educational videos, as well as multimedia presentations. The research also utilized information technologies, in which computers, communication equipment and software environments are: ● means to provide educational material to students for the transfer of knowledge; ● tools for designing, developing and conducting simulation experiments. In addition, we used the following special professional technologies, methods and tools in the process of teaching students: ● structural and functional modeling methodology; ● discrete-event approach to simulation methodology; ● special software for development and research of simulation models of economic processes and systems: Arena 15.0, AnyLogic 8.3.2.According to the requirements of the new educational standards, the student must master a sufficiently large amount of general cultural, professional and specialized competencies included in the curriculum. The application of the proposed approaches and methods allows to provide effective development of skills of simulation modeling of educational programs for bachelors of «Applied Informatics» and «Business Informatics».Results.The study created a method of teaching students the skills of simulation modeling. The research also established the model of formation of readiness of the IT specialist to the development of simulation models of economic processes and systems in higher school. We also identified important methodological conditions for the formation of professional competencies of students in the field of modeling, such as: ● application of a systematic approach to the analysis of domain problems, as well as for the synthesis of mathematical simulation models of business processes and economic systems; ● practical orientation of the content of training (selection and research in the educational process of the most characteristic, typical problems of the economy); ● integration of interdisciplinary knowledge, methods and approaches to solve complex problems.Conclusion.The method can equip students with skills of simulation modeling with various areas of practical application. First, this technique can be used by university students who are engaged in pursuing practical skills and basic system knowledge in the field of simulation. Secondly, teachers can use it, conducting courses: “Computer modeling”, “Mathematical and simulation modeling”, “Modeling of processes and systems” in the educational process of the University to improve the professional competence of students training simulation modeling. Third, the outcomes may be of interest to managers of educational programs in the areas of: “Applied Informatics”, “Business Informatics”, etc. to improve the structure and sequence of disciplines of competence-oriented curricula. Finally, the application of the proposed methodology in the educational process of the University will enhance professional expertise of young specialists and undoubtedly address the needs of potential employers.

Abstract Introduction: The competencies needed for information and communication technologies (ICT) integration in the teaching-learning process are related to the use of technology, pedagogical attitudes, and content planning. These qualifications are all interrelated and should not be seen separately (Becuwe et al., 2017). In this context, ICT and TPACK competencies are important for ICT integration. The standards of ISTE for educators define the ICT skills that teachers should have as designers and facilitators (International Society for Technology Education [ISTE], 2020). These standards are gathered within the framework of ICT literacy, digital literacy, and ICT competence (Tondeur et al., 2017). The concept of ICT competence discussed in this study refers to the integrated and functional use of digital knowledge, skills and attitudes (Hatlevik et al., 2015). In this study, the ICT integration competencies of pre-service teachers (PSTs) were examined as ICT competencies and TPACK competencies in terms of a range of variables. For this purpose, the following question was asked: “Is there any significant difference in the ICT integration competencies of PSTs according to a range of variables?” Methods: This study is based on causal-comparative research. The research was conducted in the autumn term of the 2019-2020 academic year. A convenience sampling method was used. In this regard, 413 PSTs, who are students of faculties of education at ten state universities located in different cities in Turkey, participated voluntarily in the study. The “Pre-service Teachers’ ICT Competencies Scale” developed by Tondeur et al. (2017) and the “TPACK-Deep Scale” developed by Kabakçı Yurdakul et al. (2012) were used to collect the data in the study. In addition to the scales, seven questions were asked about gender, grade, department, GPA, ICT course grade, owning a computer for educational purposes, and one’s perceived ability to use technology. Two methods have been adopted to collect data. The first was to collect the printed forms that were completed in pen by the PSTs, and the second was to prepare the electronic form and deliver it to the PSTs via e-mail and social media applications and then collect the data. To analyse the data, descriptive statistics, independent samples t-test and one-way analysis of variance (ANOVA) were used. Results: ICT and TPACK competencies of PSTs differ according to grade, having one’s own computer for educational purposes, and one’s perceived ability to use technology, but do not differ by gender. There is no significant difference in ICT and TPACK competencies according to the gender of PSTs. There is a significant difference in ICT and TPACK competencies according to the grade of PSTs and this difference is in favour of fourth grades. There is a significant difference in terms of ICT competencies and TPACK competencies according to computer ownership for educational purposes. This difference is in favour of PSTs who have their own computers. According to the perceived ability to use the technology of PSTs, there is a significant difference in ICT competencies and TPACK competencies. This difference is in favour of PSTs who think they can use technology at the advanced or expert level. Discussion: In the face of constantly developing and changing technology, an important consideration is the competencies teachers and PSTs should have for ICT integration. Factors contributing to the explanation of the ICT integration process such as skills and competencies, pedagogical beliefs and self-efficacy, professional development and teacher experiences, ICT infrastructure, and access and tools are seen to have a positive effect on ICT use (Kaya & Usluel, 2011). It has been suggested that competence and pedagogical knowledge regarding ICT integration as perceived by teachers are important when starting to integrate ICT into teaching practices (Aslan & Zu, 2015). In this study, it was found that there is a difference in ICT integration competencies of PSTs in favour of those who have their own computers and those who think they can use technology at the advanced or expert level. As the PSTs experience an increase in their perceived level of skill in their use of technology, their ICT integration competencies increase. This study also shows that PSTs’ computer ownership has an impact on their education and improves their technological skills, making a difference in terms of ICT integration competencies. Limitations: This study was limited to PSTs who studied at the faculty of education at state universities in Turkey. In addition, two scales related to ICT integration and one demographic questionnaire were used. Also, the convenience sampling method was used and the sampling was confined to 413 PSTs. Conclusions: There is a need for educational processes that emphasise technology’s educational value and enable teachers to improve themselves pedagogically and plan more effective teaching-learning processes using this pedagogical knowledge. To meet the needs of the learners of this century, teachers must first be equipped with the necessary knowledge and skills in their educational processes (Yıldırım, 2000; Zhou et al., 2010). PSTs should experience this process in their teaching-learning process, and should receive training in the integration of ICT in the teaching-learning process (Çubukçu et al., 2017). Research shows that the learning experiences of PSTs in this sense and the integration of ICT with their subject areas are closely related to understanding the educational value of ICT (Mumcu & Usluel, 2015). Academics, who take a role in teacher education, should use technology effectively in their lessons, and PSTs should experience the educational uses of technology through their education (Başal, 2015). In this sense, academics who take part in teacher education have important duties.

The installation of technology in the school library is only the first step in its effective use by students. Many search engines are not intuitively obvious to users, and although students love computers, they often need help with searching. The author combines the results of action research in the high school library with conclusions in the professional literature to argue that systematic formal instruction in electronic search skills is necessary for awareness of library software and competence in its use. The paper focuses on the why, what, when, where, and how of teaching electronic search skills to high school students.

In recent years, the management staff at the ethnic minorities boarding lower secondary schools have made great efforts in leading the application of information technology in teaching. Subjects from basic subjects to specialized subjects use information technology (IT) to improve subject teaching effectiveness. Depending on the characteristics and characteristics of each subject, even each lesson, that is applied in accordance with the objectives and contents of the subject and the lesson. In general, the application of IT in teaching of ethnic minority boarding lower secondary schools teachers is shown in the following activities: Teachers use computers as text editing tools to prepare lesson plans , exam questions, tests, print documents, access the Internet to collect materials for teaching; Electronic lecture design; Organize teaching by electronic lectures in class. However, the effectiveness of IT application in teaching of ethnic minorities boarding lower secondary schools in the Central Highlands provinces is not high. Through an in-depth assessment of the current situation of leadership capacity development in IT application in teaching at ethnic minority boarding lower secondary schools, the authors of the article has proposed an effective solution system for leadership capacity development in IT application in teaching at ethnic minority boarding lower secondary schools in accordance with the human, material and financial conditions of the ethnic minorities boarding general education schools for lower secondary in Central Highlands region in the current period.

Digital teaching and learning sprouted as sparks of fire at different points with the traditional method of teaching and learning stone walling its presence and its ability to be appreciated. Following an unprecedented burst of COVI-19 pandemic, institutions of higher learning embraced digital learning extensively and seemingly forever. This study was launched for the purpose of exploring nursing students’ experiences of e-learning as they pursued Midwifery Course during the pandemic. The study used a cross-sectional design with a qualitative approach. A mixture of 60 third year and fourth year Nursing students taking Midwifery as a course participated in the study through 6 Focus Group discussions. The study found that students residing in rural places of the country faced challenges of poor internet connectivity due to weak signal strength. They could fail to participate during interactive virtual class due to uncharged electronic gadgets or interrupted session due to power outages. Some had neither Personal Computers nor a smart phone to enable them access learning materials. E-learning, in spite of institutions embracing it due to COVID-19 pandemic related reasons, it remains the quickest, widest and most efficient and effective way of teaching and learning with greater potential for being the future mainstay of learning. Telecommunication and electricity supply companies need to invest more in technology to enable lecturers and students access uninterrupted and reliable internet network because with technology advancement comes, a cultural shift from the traditional way of learning to the digitalized mode of learning.

Abstract: Introduction: The objective of this study is to describe a model of knee arthroscopy simulator that is affordable, low-cost and easily reproducible, aiming to enable the diffusion of more effective active teaching and training methodologies. Methods: For the creation of the arthroscopic camera, an endoscopic camera for mobile phones and computers model SXT-5.0M manufactured by KKMOON were used. The camera was introduced in a metal tube, which was coupled to a set of three 20 mm PVC hydraulic connectors to simulate the handle and sleeve of the arthroscope. The camera has a resolution of 1280 x 720 pixels and is equipped with six built-in white LED lamps, simulating and eliminating the need to use an additional light source. The knee model was developed using a PVC pipe fixed on a wooden support, to which synthetic femur and tibia models were affixed. Four three-centimeter diameter holes, compatible with the standard arthroscopic portals, were made in the body of the PVC pipe. For the menisci, a model was made out of modeling clay (Corfix®), until the anatomical structures were close to the real ones. The model consists of both menisci and the intercondylar eminence, simulating the proximal tibial articular surface. The model made out of modeling clay was the basis for the production of a thin Crystal Polyester Resin mold. Using the resin mold, the meniscal models were made of Silicone Rubber Type II, widely used in industry and crafts. Results: A functional and reproducible simulator was obtained, consisting of a knee model and an arthroscopic camera. The simulator works adequately adapted to a TV, monitor or computer, and allows the simulation of diagnostic procedures, meniscectomy and meniscoplasty. Conclusion: It is possible to develop a knee arthroscopy simulator, with components available in local and electronic commerce, at a cost of approximately R$ 300.

Abstract: Introduction: The objective of this study is to describe a model of knee arthroscopy simulator that is affordable, low-cost and easily reproducible, aiming to enable the diffusion of more effective active teaching and training methodologies. Methods: For the creation of the arthroscopic camera, an endoscopic camera for mobile phones and computers model SXT-5.0M manufactured by KKMOON were used. The camera was introduced in a metal tube, which was coupled to a set of three 20 mm PVC hydraulic connectors to simulate the handle and sleeve of the arthroscope. The camera has a resolution of 1280 x 720 pixels and is equipped with six built-in white LED lamps, simulating and eliminating the need to use an additional light source. The knee model was developed using a PVC pipe fixed on a wooden support, to which synthetic femur and tibia models were affixed. Four three-centimeter diameter holes, compatible with the standard arthroscopic portals, were made in the body of the PVC pipe. For the menisci, a model was made out of modeling clay (Corfix®), until the anatomical structures were close to the real ones. The model consists of both menisci and the intercondylar eminence, simulating the proximal tibial articular surface. The model made out of modeling clay was the basis for the production of a thin Crystal Polyester Resin mold. Using the resin mold, the meniscal models were made of Silicone Rubber Type II, widely used in industry and crafts. Results: A functional and reproducible simulator was obtained, consisting of a knee model and an arthroscopic camera. The simulator works adequately adapted to a TV, monitor or computer, and allows the simulation of diagnostic procedures, meniscectomy and meniscoplasty. Conclusion: It is possible to develop a knee arthroscopy simulator, with components available in local and electronic commerce, at a cost of approximately R$ 300.

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Abstract Objective. To evaluate the pattern of internet use and factors that facilitate or dissuade its use among nursing students from a university in Urmia, Iran.Methods. A cross-sectional, descriptive study was conducted with 162 nursing students selected through simple random sampling.Results. The findings indicated that 49.1% of the students used the internet from 15 to 60 min per day. The principal use of the internet was to search for scientific content in the Web. Factors that facilitated internet use were “ease of use” and “Access to experts to solve problems and answer questions”, while the dissuasive factors were “lack of concentration”, “cost of internet services”, and preference for information provided by professors or available directly in textbooks. Internet use by the students was related with the use of this tool in classroom activities and with English fluency.Conclusion. Students have an internet use pattern aimed at self-study that should be strengthened with knowledge of English, assignments online, familiarization with the use of electronic databases, and other strategies to motivate them to use this technology with greater frequency.Descriptors: computers; cross-sectional studies; information technology; information storage and retrieval; Internet; students, nursing.How to cite this article: Shirazi F, Heidari S, Fard SJ, Ghodsbin F. Pattern of Internet Use by Iranian Nursing Students. Facilitators and Barriers. Invest. Educ. Enferm. 2019; 37(2):e06.ReferencesGündüz HB. Digital divide in Turkish primary schools: Sakarya sample. TOJET. 2010; 9(1)43-53. Mokhtarinoori J, Zohari S, Yaghmai F, Ebadi A, Yoldashkhan M. Study of factors relation to internet use with usage of internet by teachers according to theory of reasoned action. Iran J. Nurs. Midwifery Res. 2011; 5(19):25-36. Jacobs HL. Information literacy and reflective pedagogical praxis. J. 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Nurses and Internet health information: a questionnaire survey. JAN. 2008; 61(1):19-28. Rastgoo A, Naderi E, Shriatmadari A, Seifnaraghi M. The impact of Internet information litracy training on university student’s problem solving skills. Q. J. N. Approach Educ. Ad. 2011; 1(4):1-22. Saeidi M, Yaghmaei F, Ranjbaran M, Godarzvand L, Hariri G, Imanzad M. Knowledge, skills, access and usage status of computers, internet and databases in nursing students and some of the related factors. Adv. Nurs. Midwifery. 2014; 23(83):51-8. Kumar S, Tadakamadla J, Tibdewal H, Duraiswamy P, Kulkarni S. Internet usage among undergraduate dental students in India. Rev. Odonto Cienc. 2010; 25(3):261-5. Abtahi S, Feali M. Evaluation of skill and use of Information Technology and Internet among professors, postgraduate and undergraduate students in Mashhad Dental School in Iran in 2007-2008. J. Mash Dent. Sch. 2008; 32(4), 257-262. (Persian) Jamshidi L, Mehrdad AG, Jamshidi S. Assessing nursing students’ knowledge and attitudes about computers and the internet. Procedia Soc. Behav. Sci. 2012; 46:1371-4. Jadoon NA, Zahid MF, Mansoorulhaq H, Ullah S, Jadoon BA, Raza A, et al. Evaluation of internet access and utilization by medical students in Lahore, Pakistan. BMC Med. Inform. Decis. Mak. 2011; 11(1):37. Almarabeh T, Rajab L, Majdalawi YK. Awareness and usage of computer and internet among medical faculties’ students at the University of Jordan. J. Software Eng. Appl. 2016; 9(05):147. Maleki Z, Goudarzi M, Mohtashami L, Faghihi B. Knowledge and attitudes of dental students and academic staffs towards internet usage in dental training in Shahid Beheshti University of Medical Sciences. Shahid Beheshti Univ. Dent. J. 2010; 28(1):40-7. Houshyari AB, Bahadorani M, Tootoonchi M, Gardiner J, Peña RA, Adibi P. Information and communication technology in medical education: an experience from a developing country. J. Pak. Med. Assoc. 2012; 62(3 Suppl 2):S71-5. 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When George Orwell encountered ideas of a technological utopia sixty-five years ago, he acted the grumpy middle-aged man Reading recently a batch of rather shallowly optimistic “progressive” books, I was struck by the automatic way in which people go on repeating certain phrases which were fashionable before 1914. Two great favourites are “the abolition of distance” and “the disappearance of frontiers”. I do not know how often I have met with the statements that “the aeroplane and the radio have abolished distance” and “all parts of the world are now interdependent” (1944). It is worth revisiting the old boy’s grumpiness, because the rhetoric he so niftily skewers continues in our own time. Facebook features “Peace on Facebook” and even claims that it can “decrease world conflict” through inter-cultural communication. Twitter has announced itself as “a triumph of humanity” (“A Cyber-House” 61). Queue George. In between Orwell and latter-day hoody cybertarians, a whole host of excitable public intellectuals announced the impending end of materiality through emergent media forms. Marshall McLuhan, Neil Postman, Daniel Bell, Ithiel de Sola Pool, George Gilder, Alvin Toffler—the list of 1960s futurists goes on and on. And this wasn’t just a matter of punditry: the OECD decreed the coming of the “information society” in 1975 and the European Union (EU) followed suit in 1979, while IBM merrily declared an “information age” in 1977. Bell theorized this technological utopia as post-ideological, because class would cease to matter (Mattelart). Polluting industries seemingly no longer represented the dynamic core of industrial capitalism; instead, market dynamism radiated from a networked, intellectual core of creative and informational activities. The new information and knowledge-based economies would rescue First World hegemony from an “insurgent world” that lurked within as well as beyond itself (Schiller). Orwell’s others and the Cold-War futurists propagated one of the most destructive myths shaping both public debate and scholarly studies of the media, culture, and communication. They convinced generations of analysts, activists, and arrivistes that the promises and problems of the media could be understood via metaphors of the environment, and that the media were weightless and virtual. The famous medium they wished us to see as the message —a substance as vital to our wellbeing as air, water, and soil—turned out to be no such thing. Today’s cybertarians inherit their anti-Marxist, anti-materialist positions, as a casual glance at any new media journal, culture-industry magazine, or bourgeois press outlet discloses. The media are undoubtedly important instruments of social cohesion and fragmentation, political power and dissent, democracy and demagoguery, and other fraught extensions of human consciousness. But talk of media systems as equivalent to physical ecosystems—fashionable among marketers and media scholars alike—is predicated on the notion that they are environmentally benign technologies. This has never been true, from the beginnings of print to today’s cloud-covered computing. Our new book Greening the Media focuses on the environmental impact of the media—the myriad ways that media technology consumes, despoils, and wastes natural resources. We introduce ideas, stories, and facts that have been marginal or absent from popular, academic, and professional histories of media technology. Throughout, ecological issues have been at the core of our work and we immodestly think the same should apply to media communications, and cultural studies more generally. We recognize that those fields have contributed valuable research and teaching that address environmental questions. For instance, there is an abundant literature on representations of the environment in cinema, how to communicate environmental messages successfully, and press coverage of climate change. That’s not enough. You may already know that media technologies contain toxic substances. You may have signed an on-line petition protesting the hazardous and oppressive conditions under which workers assemble cell phones and computers. But you may be startled, as we were, by the scale and pervasiveness of these environmental risks. They are present in and around every site where electronic and electric devices are manufactured, used, and thrown away, poisoning humans, animals, vegetation, soil, air and water. We are using the term “media” as a portmanteau word to cover a multitude of cultural and communications machines and processes—print, film, radio, television, information and communications technologies (ICT), and consumer electronics (CE). This is not only for analytical convenience, but because there is increasing overlap between the sectors. CE connect to ICT and vice versa; televisions resemble computers; books are read on telephones; newspapers are written through clouds; and so on. Cultural forms and gadgets that were once separate are now linked. The currently fashionable notion of convergence doesn’t quite capture the vastness of this integration, which includes any object with a circuit board, scores of accessories that plug into it, and a global nexus of labor and environmental inputs and effects that produce and flow from it. In 2007, a combination of ICT/CE and media production accounted for between 2 and 3 percent of all greenhouse gases emitted around the world (“Gartner Estimates,”; International Telecommunication Union; Malmodin et al.). Between twenty and fifty million tonnes of electronic waste (e-waste) are generated annually, much of it via discarded cell phones and computers, which affluent populations throw out regularly in order to buy replacements. (Presumably this fits the narcissism of small differences that distinguishes them from their own past.) E-waste is historically produced in the Global North—Australasia, Western Europe, Japan, and the US—and dumped in the Global South—Latin America, Africa, Eastern Europe, Southern and Southeast Asia, and China. It takes the form of a thousand different, often deadly, materials for each electrical and electronic gadget. This trend is changing as India and China generate their own media detritus (Robinson; Herat). Enclosed hard drives, backlit screens, cathode ray tubes, wiring, capacitors, and heavy metals pose few risks while these materials remain encased. But once discarded and dismantled, ICT/CE have the potential to expose workers and ecosystems to a morass of toxic components. Theoretically, “outmoded” parts could be reused or swapped for newer parts to refurbish devices. But items that are defined as waste undergo further destruction in order to collect remaining parts and valuable metals, such as gold, silver, copper, and rare-earth elements. This process causes serious health risks to bones, brains, stomachs, lungs, and other vital organs, in addition to birth defects and disrupted biological development in children. Medical catastrophes can result from lead, cadmium, mercury, other heavy metals, poisonous fumes emitted in search of precious metals, and such carcinogenic compounds as polychlorinated biphenyls, dioxin, polyvinyl chloride, and flame retardants (Maxwell and Miller 13). The United States’ Environmental Protection Agency estimates that by 2007 US residents owned approximately three billion electronic devices, with an annual turnover rate of 400 million units, and well over half such purchases made by women. Overall CE ownership varied with age—adults under 45 typically boasted four gadgets; those over 65 made do with one. The Consumer Electronics Association (CEA) says US$145 billion was expended in the sector in 2006 in the US alone, up 13% on the previous year. The CEA refers joyously to a “consumer love affair with technology continuing at a healthy clip.” In the midst of a recession, 2009 saw $165 billion in sales, and households owned between fifteen and twenty-four gadgets on average. By 2010, US$233 billion was spent on electronic products, three-quarters of the population owned a computer, nearly half of all US adults owned an MP3 player, and 85% had a cell phone. By all measures, the amount of ICT/CE on the planet is staggering. As investigative science journalist, Elizabeth Grossman put it: “no industry pushes products into the global market on the scale that high-tech electronics does” (Maxwell and Miller 2). In 2007, “of the 2.25 million tons of TVs, cell phones and computer products ready for end-of-life management, 18% (414,000 tons) was collected for recycling and 82% (1.84 million tons) was disposed of, primarily in landfill” (Environmental Protection Agency 1). Twenty million computers fell obsolete across the US in 1998, and the rate was 130,000 a day by 2005. It has been estimated that the five hundred million personal computers discarded in the US between 1997 and 2007 contained 6.32 billion pounds of plastics, 1.58 billion pounds of lead, three million pounds of cadmium, 1.9 million pounds of chromium, and 632000 pounds of mercury (Environmental Protection Agency; Basel Action Network and Silicon Valley Toxics Coalition 6). The European Union is expected to generate upwards of twelve million tons annually by 2020 (Commission of the European Communities 17). While refrigerators and dangerous refrigerants account for the bulk of EU e-waste, about 44% of the most toxic e-waste measured in 2005 came from medium-to-small ICT/CE: computer monitors, TVs, printers, ink cartridges, telecommunications equipment, toys, tools, and anything with a circuit board (Commission of the European Communities 31-34). Understanding the enormity of the environmental problems caused by making, using, and disposing of media technologies should arrest our enthusiasm for them. But intellectual correctives to the “love affair” with technology, or technophilia, have come and gone without establishing much of a foothold against the breathtaking flood of gadgets and the propaganda that proclaims their awe-inspiring capabilities.[i] There is a peculiar enchantment with the seeming magic of wireless communication, touch-screen phones and tablets, flat-screen high-definition televisions, 3-D IMAX cinema, mobile computing, and so on—a totemic, quasi-sacred power that the historian of technology David Nye has named the technological sublime (Nye Technological Sublime 297).[ii] We demonstrate in our book why there is no place for the technological sublime in projects to green the media. But first we should explain why such symbolic power does not accrue to more mundane technologies; after all, for the time-strapped cook, a pressure cooker does truly magical things. Three important qualities endow ICT/CE with unique symbolic potency—virtuality, volume, and novelty. The technological sublime of media technology is reinforced by the “virtual nature of much of the industry’s content,” which “tends to obscure their responsibility for a vast proliferation of hardware, all with high levels of built-in obsolescence and decreasing levels of efficiency” (Boyce and Lewis 5). Planned obsolescence entered the lexicon as a new “ethics” for electrical engineering in the 1920s and ’30s, when marketers, eager to “habituate people to buying new products,” called for designs to become quickly obsolete “in efficiency, economy, style, or taste” (Grossman 7-8).[iii] This defines the short lifespan deliberately constructed for computer systems (drives, interfaces, operating systems, batteries, etc.) by making tiny improvements incompatible with existing hardware (Science and Technology Council of the American Academy of Motion Picture Arts and Sciences 33-50; Boyce and Lewis). With planned obsolescence leading to “dizzying new heights” of product replacement (Rogers 202), there is an overstated sense of the novelty and preeminence of “new” media—a “cult of the present” is particularly dazzled by the spread of electronic gadgets through globalization (Mattelart and Constantinou 22). References to the symbolic power of media technology can be found in hymnals across the internet and the halls of academe: technologies change us, the media will solve social problems or create new ones, ICTs transform work, monopoly ownership no longer matters, journalism is dead, social networking enables social revolution, and the media deliver a cleaner, post-industrial, capitalism. Here is a typical example from the twilight zone of the technological sublime (actually, the OECD): A major feature of the knowledge-based economy is the impact that ICTs have had on industrial structure, with a rapid growth of services and a relative decline of manufacturing. Services are typically less energy intensive and less polluting, so among those countries with a high and increasing share of services, we often see a declining energy intensity of production … with the emergence of the Knowledge Economy ending the old linear relationship between output and energy use (i.e. partially de-coupling growth and energy use) (Houghton 1) This statement mixes half-truths and nonsense. In reality, old-time, toxic manufacturing has moved to the Global South, where it is ascendant; pollution levels are rising worldwide; and energy consumption is accelerating in residential and institutional sectors, due almost entirely to ICT/CE usage, despite advances in energy conservation technology (a neat instance of the age-old Jevons Paradox). In our book we show how these are all outcomes of growth in ICT/CE, the foundation of the so-called knowledge-based economy. ICT/CE are misleadingly presented as having little or no material ecological impact. In the realm of everyday life, the sublime experience of electronic machinery conceals the physical work and material resources that go into them, while the technological sublime makes the idea that more-is-better palatable, axiomatic; even sexy. In this sense, the technological sublime relates to what Marx called “the Fetishism which attaches itself to the products of labour” once they are in the hands of the consumer, who lusts after them as if they were “independent beings” (77). There is a direct but unseen relationship between technology’s symbolic power and the scale of its environmental impact, which the economist Juliet Schor refers to as a “materiality paradox” —the greater the frenzy to buy goods for their transcendent or nonmaterial cultural meaning, the greater the use of material resources (40-41). We wrote Greening the Media knowing that a study of the media’s effect on the environment must work especially hard to break the enchantment that inflames popular and elite passions for media technologies. We understand that the mere mention of the political-economic arrangements that make shiny gadgets possible, or the environmental consequences of their appearance and disappearance, is bad medicine. It’s an unwelcome buzz kill—not a cool way to converse about cool stuff. But we didn’t write the book expecting to win many allies among high-tech enthusiasts and ICT/CE industry leaders. We do not dispute the importance of information and communication media in our lives and modern social systems. We are media people by profession and personal choice, and deeply immersed in the study and use of emerging media technologies. But we think it’s time for a balanced assessment with less hype and more practical understanding of the relationship of media technologies to the biosphere they inhabit. Media consumers, designers, producers, activists, researchers, and policy makers must find new and effective ways to move ICT/CE production and consumption toward ecologically sound practices. In the course of this project, we found in casual conversation, lecture halls, classroom discussions, and correspondence, consistent and increasing concern with the environmental impact of media technology, especially the deleterious effects of e-waste toxins on workers, air, water, and soil. We have learned that the grip of the technological sublime is not ironclad. Its instability provides a point of departure for investigating and criticizing the relationship between the media and the environment. The media are, and have been for a long time, intimate environmental participants. Media technologies are yesterday’s, today’s, and tomorrow’s news, but rarely in the way they should be. The prevailing myth is that the printing press, telegraph, phonograph, photograph, cinema, telephone, wireless radio, television, and internet changed the world without changing the Earth. In reality, each technology has emerged by despoiling ecosystems and exposing workers to harmful environments, a truth obscured by symbolic power and the power of moguls to set the terms by which such technologies are designed and deployed. Those who benefit from ideas of growth, progress, and convergence, who profit from high-tech innovation, monopoly, and state collusion—the military-industrial-entertainment-academic complex and multinational commandants of labor—have for too long ripped off the Earth and workers. As the current celebration of media technology inevitably winds down, perhaps it will become easier to comprehend that digital wonders come at the expense of employees and ecosystems. This will return us to Max Weber’s insistence that we understand technology in a mundane way as a “mode of processing material goods” (27). Further to understanding that ordinariness, we can turn to the pioneering conversation analyst Harvey Sacks, who noted three decades ago “the failures of technocratic dreams [:] that if only we introduced some fantastic new communication machine the world will be transformed.” Such fantasies derived from the very banality of these introductions—that every time they took place, one more “technical apparatus” was simply “being made at home with the rest of our world’ (548). Media studies can join in this repetitive banality. Or it can withdraw the welcome mat for media technologies that despoil the Earth and wreck the lives of those who make them. In our view, it’s time to green the media by greening media studies. References “A Cyber-House Divided.” Economist 4 Sep. 2010: 61-62. “Gartner Estimates ICT Industry Accounts for 2 Percent of Global CO2 Emissions.” Gartner press release. 6 April 2007. ‹http://www.gartner.com/it/page.jsp?id=503867›. Basel Action Network and Silicon Valley Toxics Coalition. Exporting Harm: The High-Tech Trashing of Asia. Seattle: Basel Action Network, 25 Feb. 2002. Benjamin, Walter. “Central Park.” Trans. Lloyd Spencer with Mark Harrington. New German Critique 34 (1985): 32-58. Biagioli, Mario. “Postdisciplinary Liaisons: Science Studies and the Humanities.” Critical Inquiry 35.4 (2009): 816-33. Boyce, Tammy and Justin Lewis, eds. Climate Change and the Media. New York: Peter Lang, 2009. Commission of the European Communities. “Impact Assessment.” Commission Staff Working Paper accompanying the Proposal for a Directive of the European Parliament and of the Council on Waste Electrical and Electronic Equipment (WEEE) (recast). COM (2008) 810 Final. Brussels: Commission of the European Communities, 3 Dec. 2008. Environmental Protection Agency. Management of Electronic Waste in the United States. Washington, DC: EPA, 2007 Environmental Protection Agency. Statistics on the Management of Used and End-of-Life Electronics. Washington, DC: EPA, 2008 Grossman, Elizabeth. Tackling High-Tech Trash: The E-Waste Explosion & What We Can Do about It. New York: Demos, 2008. ‹http://www.demos.org/pubs/e-waste_FINAL.pdf› Herat, Sunil. “Review: Sustainable Management of Electronic Waste (e-Waste).” Clean 35.4 (2007): 305-10. Houghton, J. “ICT and the Environment in Developing Countries: Opportunities and Developments.” Paper prepared for the Organization for Economic Cooperation and Development, 2009. International Telecommunication Union. ICTs for Environment: Guidelines for Developing Countries, with a Focus on Climate Change. Geneva: ICT Applications and Cybersecurity Division Policies and Strategies Department ITU Telecommunication Development Sector, 2008. Malmodin, Jens, Åsa Moberg, Dag Lundén, Göran Finnveden, and Nina Lövehagen. “Greenhouse Gas Emissions and Operational Electricity Use in the ICT and Entertainment & Media Sectors.” Journal of Industrial Ecology 14.5 (2010): 770-90. Marx, Karl. Capital: Vol. 1: A Critical Analysis of Capitalist Production, 3rd ed. Trans. Samuel Moore and Edward Aveling, Ed. Frederick Engels. New York: International Publishers, 1987. Mattelart, Armand and Costas M. Constantinou. “Communications/Excommunications: An Interview with Armand Mattelart.” Trans. Amandine Bled, Jacques Guot, and Costas Constantinou. Review of International Studies 34.1 (2008): 21-42. Mattelart, Armand. “Cómo nació el mito de Internet.” Trans. Yanina Guthman. El mito internet. Ed. Victor Hugo de la Fuente. Santiago: Editorial aún creemos en los sueños, 2002. 25-32. Maxwell, Richard and Toby Miller. Greening the Media. New York: Oxford University Press, 2012. Nye, David E. American Technological Sublime. Cambridge, Mass.: MIT Press, 1994. Nye, David E. Technology Matters: Questions to Live With. Cambridge, Mass.: MIT Press. 2007. Orwell, George. “As I Please.” Tribune. 12 May 1944. Richtel, Matt. “Consumers Hold on to Products Longer.” New York Times: B1, 26 Feb. 2011. Robinson, Brett H. “E-Waste: An Assessment of Global Production and Environmental Impacts.” Science of the Total Environment 408.2 (2009): 183-91. Rogers, Heather. Gone Tomorrow: The Hidden Life of Garbage. New York: New Press, 2005. Sacks, Harvey. Lectures on Conversation. Vols. I and II. Ed. Gail Jefferson. Malden: Blackwell, 1995. Schiller, Herbert I. Information and the Crisis Economy. Norwood: Ablex Publishing, 1984. Schor, Juliet B. Plenitude: The New Economics of True Wealth. New York: Penguin, 2010. Science and Technology Council of the American Academy of Motion Picture Arts and Sciences. The Digital Dilemma: Strategic Issues in Archiving and Accessing Digital Motion Picture Materials. Los Angeles: Academy Imprints, 2007. Weber, Max. “Remarks on Technology and Culture.” Trans. Beatrix Zumsteg and Thomas M. Kemple. Ed. Thomas M. Kemple. Theory, Culture [i] The global recession that began in 2007 has been the main reason for some declines in Global North energy consumption, slower turnover in gadget upgrades, and longer periods of consumer maintenance of electronic goods (Richtel). [ii] The emergence of the technological sublime has been attributed to the Western triumphs in the post-Second World War period, when technological power supposedly supplanted the power of nature to inspire fear and astonishment (Nye Technology Matters 28). Historian Mario Biagioli explains how the sublime permeates everyday life through technoscience: "If around 1950 the popular imaginary placed science close to the military and away from the home, today’s technoscience frames our everyday life at all levels, down to our notion of the self" (818). [iii] This compulsory repetition is seemingly undertaken each time as a novelty, governed by what German cultural critic Walter Benjamin called, in his awkward but occasionally illuminating prose, "the ever-always-the-same" of "mass-production" cloaked in "a hitherto unheard-of significance" (48).

While digital remix practices in music have been researched extensively in the last few years (see recently Jansen; Navas; Pinch and Athanasiades; Väkevä), the specific challenges and skills that are central to remixing are still not well understood (Borschke 90). As writers like Demers, Lessig, and Théberge argue, the fact that remixers rework already existing songs rather than building a track from scratch, often means they are perceived as musical thieves or parasites rather than creative artists. Moreover, as writers like Borschke and Rodgers argue, because remixers make use of digital audio workstations to produce and rework their sounds, their practices tend to be seen as highly automated, offering relatively little by way of musical and creative challenges, especially compared to more traditional (electro)acoustic forms of music-making. An underestimation of skill is problematic, however, because, as my own empirical research shows, creative skills and challenges are important to the way digital remixers themselves experience and value their practice. Drawing from virtual ethnographic research within the online remix communities of Indaba Music, this article argues that, not despite but because remixers start from already existing songs and because they rework these songs with the help of digital audio workstations, a particular set of creative abilities becomes foregrounded, namely: ‘fluency’ and ‘flexibility’ (Gouzouasis; Guilford, “Creativity Research”, Intelligence, “Measurement”). Fluency, the way the concept is used here, refers to the ability to respond to, and produce ideas for, a wide variety of musical source materials, quickly and easily. Flexibility refers to the ability to understand, and adapt these approaches to, the ‘musical affordances’ (Gibson; Windsor and De Bézenac) of the original song, that is: the different musical possibilities and constraints the source material provides. For remixers, fluency and flexibility are not only needed in order to be able to participate in these remix contests, they are also central to the way they value and evaluate each other’s work.Researching Online Remix ContestsAs part of a larger research project on online music practices, between 2011 and 2012, I spent eighteen months conducting virtual ethnographic research (Hine) within several remix competitions hosted on online music community Indaba Music. Indaba is not the only online community where creative works can be exchanged and discussed. For this research, however, I have chosen to focus on Indaba because, other than in a remix community like ccMixter for example, competitions are very much central to the Indaba community, thus making it a good place to investigate negotiations of skills and techniques. Also, unlike a community like ACIDplanet which is tied explicitly to Sony’s audio software program ACID Pro, Indaba is not connected to any particular audio workstation, thus providing an insight into a relatively broad variety of remix practices. During my research on Indaba, I monitored discussions between participants, listened to work that had been uploaded, and talked to remixers via personal messaging. In addition to my daily monitoring, I also talked to 21 remixers more extensively through Skype interviews. These interviews were semi-structured, and lasted between 50 minutes and 3.5 hours, sometimes spread over multiple sessions. During these interviews, remixers not only talked about their practices, they also shared work in progress with me by showing their remixes on screen or by directing a webcam to their instruments while they played, recorded, or mixed their material. All the remixers who participated in these interviews granted me permission to quote them and to use the original nicknames or personal names they use on Indaba in this publication. Besides the online observations and interviews, I also participated in three remix competitions myself, in order to gain a better understanding of what it means to be part of a remix community and to see what kind of challenges and abilities are involved. In the online remix contests of Indaba, professional artists invite remixers to rework a song and share and discuss these works within the community. For the purpose of these contests, artists provide separate audio files (so-called ‘stems’) for different musical elements such as voice, drums, bass, or guitar. Remixers can produce their tracks by rearranging these stems, or they can add new audio material, such as beats, chords, and rhythms, as long as this material is not copyrighted. Remixers generally comply with this rule. During the course of a contest, remixers upload their work to the website and discuss and share the results with other remixers. A typical remix contest draws between 200 or 300 participants. These participants are mostly amateur musicians or semi-professionals in the sense that they do not make a living with their creative practices, but rather participate in these contests as a hobby. A remix contest normally lasts for four or five weeks. After that time, the hosting artist chooses a winner and the remixers move on to another contest, hosted by a different artist and featuring a new song, sometimes from a completely different musical genre. It is partly because of this move from contest to contest that fluency and flexibility can be understood as central abilities within these remix practices. Fluency and flexibility are concepts adopted from the work of Joy Paul Guilford (“Creativity Research”, Intelligence, “Measurement”) who developed them in his creativity research from the 1950s onwards. For Guilford, fluency and flexibility are part of divergent-production abilities, those abilities we need in order to be able to deal with open questions or tasks, in which multiple solutions or answers are possible, in a quick and effective way. Within creativity research, divergent-production abilities have mainly been measured and evaluated quantitatively. In music related studies, for example, researchers have scored and assessed so-called fluency and flexibility factors in the music practices of children and adults and compared them to other creative abilities (Webster). For the purpose of this article, however, I do not wish to approach fluency and flexibility quantitatively. Rather, I would like to show that in online remix practices, fluency and flexibility, as creative abilities, become very much foregrounded. Gouzouasis already alludes to this possibility, pointing out that, in digital music practices, fluency might be more important than the ability to read and write traditional music notation. Gouzouasis’ argument, however, does not refer to a specific empirical case. Also, it does not reflect on how digital musicians themselves consider these abilities central to their own practices. Looking at online remix competitions, however, this last aspect becomes clear.FluencyFor Guilford, ‘fluency’ can be understood as the ability to produce a response, or multiple responses, to an open question or task quickly and easily (“Creativity Research”, Intelligence, “Measurement”). It is about making associations, finding different uses or purposes for certain source materials, and combining separate elements into organised phrases and patterns. Based on this definition, it is not difficult to see a link with remix competitions, in which remixers are asked to come up with a musical response to a given song within a limited time frame. Online remix contests are essentially a form of working on demand. It is the artist who invites the audience to remix a song. It is also the artist who decides which song can be remixed and which audio files can be used for that mix. Remixers who participate in these contests are usually not fans of these artists. Often they do not even know the song before they enter a competition. Instead, they travel from contest to contest, taking on many different remix opportunities. For every competition, then, remixers have to first familiarise themselves with the source material, and then try to come up with a creative response that is not only different from the original, but also different from all the other remixes that have already been uploaded. Remixers do not consider this a problem, but embrace it as a challenge. As Moritz Breit, one of the remixers, explained to me: “I like remixing [on Indaba] because it’s a challenge. You get something and have to make something different out of it, and later people will tell you how you did.” Or as hüpersonique put it: “It’s really a challenge. You hear a song and you say: ‘OK, it’s not my taste. But it’s good quality and if I could do something in my genre that would be very interesting’.” If these remixers consider the competitions to be a challenge, it is mainly because these contests provide an exercise of call and response. On Indaba, remixers apply different tempos, timbres, and sounds to a song, they upload and discuss work in progress, and they evaluate and compare the results by commenting on each other’s work. While remixers officially only need to develop one response, in practice they tend to create multiple ideas which they either combine in a single eclectic mix or otherwise include in different tracks which they upload separately. Remixers even have their own techniques in order to stimulate a variety of responses. Some remixers, for example, told me how they expose themselves to a large number of different songs and artists before they start remixing, in order to pick up different ideas and sounds. Others told me how they prefer not to listen to the original song, as it might diminish their ability to move away from it. Instead, they download only one or two of the original stems (usually the vocals) and start improvising around those sounds, without ever having heard the original song as a whole. As Ola Melander, one of the remixers, explained: “I never listen to it. I just load [the vocals] and the drum tracks. [....] I have to do it [in] my own style. [….] I don’t want that the original influences it, I want to make the chords myself, and figure out what it will sound like.” Or as Stretched Mind explained to me: “I listen to the vocal stem, only that, so no synths, no guitars, just pure vocal stems, nothing else. And I figure out what could fit with that.” On Indaba, being able to respond to, and associate around, the original track is considered to be more important than what Guilford calls ‘elaboration’ (“Measurement” 159). For Guilford, elaboration is the ability to turn a rough outline into a detailed and finished whole. It is basically a form of fine tuning. In the case of remixing, this fine tuning is called ‘mastering’ and it is all about getting exactly the right timbre, dynamics, volume, and balance in a track in order to create a ‘perfect’ sounding mix. On Indaba, only a select group of remixers is actually interested in such a professional form of elaboration. As Moritz Breit told me: “It’s not that you have like a huge bunch of perfectly mastered submissions. So nobody is really expecting that from you.” Indeed, in the comment section remixers tend to say less about audio fidelity than about how they like a certain approach. Even when a critical remark is made about the audio quality of a mix, these criticisms are often preceded or followed by encouraging comments which praise the idea behind the track or applaud the way a remixer has brought the song into a new direction. In short, the comments are often directed more towards fluency than towards elaboration, showing that for many of these remixers the idea of a response, any response, is more important than creating a professional or sellable track.Being able to produce a musical response is also more important on Indaba than having specific musical instrument skills. Most remixers work with digital audio workstations, such as Cubase, Logic Pro, and Pro Tools. These software programs make it possible to manipulate and produce sounds in ways that may include musical instruments, but do not necessarily involve them. As Hugill writes, with these programs “a sound source could be a recording, a live sound, an acoustic instrument, a synthesizer, the human body, etc. In fact, any sounding object can be a sound source” (128). As such, remix competitions tend to draw a large variety of different participants, with a wide range of musical backgrounds and instrument skills. Some remixers on Indaba create their remixes by making use of sample libraries and loops. Others, who have the ability, also add sounds with instruments such as drums, guitars, or violins, which they record with microphones or, in the case of electronic or digital instruments, plug directly into their personal computers. Remixers who are confident about their instrument skills improvise around the original tracks in real-time, while less confident players record short segments, which they then alter and correct afterwards with their audio programs. Within the logic of these digital audio workstation practices, these differences are not significant, as all audio input merely functions as a starting point, needing to be adjusted, layered, combined, and recombined afterwards in order to create the final mix. For the contestants themselves these differences are also not so significant, as contestants are still, in their own ways, involved in the challenge of responding to and associating around the original stems, regardless of the specific techniques or instruments used. The fact that remixers are open to different methods and techniques does not mean, however, that every submission is considered to be as valid as any other. Remixers do have strong opinions about what is a good remix and what is not. Looking at the comments contestants give on each other’s work, and the way they talk about their practices during interviews, it becomes clear that remixers find it important that a remix somehow fits the original source material. As hüpersonique explained: “A lot of [remixes] don’t really match the vocals (…) and then it sounds not that good.” From this perspective, remixers not only need to be fluent, they also need to be flexible towards their source material. FlexibilityFor Guilford, flexibility is the readiness to change direction or method (Intelligence, “Measurement”). It is, as Arnold writes, “facilitated by having a great many tricks in your bag, knowing lots of techniques, [and] having broad experience” (129). In music, flexibility can be understood as the ability to switch easily between different sounds, rhythms, and approaches, in order to achieve a desired musical effect. Guilford distinguishes between two forms of flexibility: ‘spontaneous flexibility’, when a subject chooses himself to switch between different approaches, and ‘adaptive flexibility’ when a switch in approach is necessary or preferred to fit a certain task (“Measurement” 158). While both forms of flexibility can be found on Indaba, adaptive flexibility is seen as a particularly important criterion of being a skilled remixer, as it shows that a remixer is able to understand, and react to, the musical affordances of the original track. The idea that music has affordances is not new. As Windsor and De Bézenac argue, building on Gibson’s original theory of affordances, even in the most free expressive jazz improvisations, there are certain cues that make us understand if a solo is “going with” or “going against” the shared context, and it is these cues that guide a musician through an improvisation (111). The same is true for remix practices. As Regelski argues, any form of music rearranging or appropriation “requires considerable understanding of music’s properties – and the different affordances of those properties” (38). Even when remixers only use one of the original stems, such as the vocals, they need to take into account, for example, the tempo of the song, the intensity of the voice, the chord patterns on which the vocals are based, and the mood or feeling the singer is trying to convey. A skilled remixer, then, builds his or her ideas on top of that so that they strengthen and not diminish these properties. On Indaba, ironic or humoristic remixers too are expected to consider at least some of the basic features of the original track, such as its key or its particular form of musical phrasing. Remixes in which these features are purposely ignored are often not appreciated by the community. As Tim Toz, one of the remixers, explained: “There’s only so much you can do, I think, in the context of a melody plus the way the song was originally sung. […] I hear guys trying to bend certain vocal cadences into other kinds of grooves, and it somehow doesn’t work […], it [begins] to sound unnatural.” On Indaba, remixers complement each other when they find the right approach to the original track. They also critique each other when an approach does not fit the original song, when it does not go along with the ‘feel’ of the track, or when it seem to be out of key or sync with the vocals. By discussing each other’s tracks, remixers not only collectively explore the limits and possibilities of a song, they also implicitly discuss their abilities to hear those possibilities and be able to act on them appropriately. What remixers need in order to be able to do this is what Hugill calls, ‘aural awareness’ (15): the ability to understand how sound works, both in a broad and in-depth way. While aural awareness is important for any musician, remixers are especially reliant on it, as their work is centred around the manipulation and extension of already existing sounds (Hugill). In order to be able to move from contest to contest, remixers need to have a broad understanding of how different musical styles work and the kind of possibilities they afford. At the same time they also need to know, at a more granular level, how sounds interact and how small alterations of chords, timbres, or rhythms can change the overall feel of a track. ConclusionRemix competitions draw participants with a wide variety of musical backgrounds who make use of a broad range of instruments and techniques. The reason such a diverse group is able to participate and compete together is not because these practices do not require musical skill, but rather because remix competitions draw on particular kinds of abilities which are not directly linked to specific methods or techniques. While it might not be necessary to produce a flawless track or to be able to play musical material in real-time, remixers do need to be able to respond to a wide variety of source materials, in a quick and effective way. Also, while it might not be necessary for remixers to be able to produce a song from scratch, they do need to be able to understand, and adapt to, the musical affordances different songs provide. In order to be able to move from contest to contest, as true musical chameleons, remixers need a broad and in-depth understanding of how sound works in different musical contexts and how particular musical responses can be achieved. As soon as remixers upload a track, it is mainly these abilities that will be judged, discussed, and evaluated by the community. In this way fluency and flexibility are not only central abilities in order to be able to participate in these remix competitions, they are also important yardsticks by which remixers measure and evaluate both their own work and the achievements of their peers.AcknowledgementsThe author would like to thank Renée van de Vall, Karin Wenz, and Dennis Kersten for their comments on early drafts of this article. Parts of this research have, in an earlier stage, been presented during the IASPM International Conference for the Study of Popular Music in Gijon, Spain 2013. 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