cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.17870/bathspa.12601928
title: Elbow - About Making - Spike Island Event

description: In August 2015 the C&C Gallery hosted an innovative residency program, <i>Elbow</i>, which transformed the public gallery into a dynamic studio environment to facilitate the production of artworks in response to ideas surrounding the condition of blindness and alternative ways of seeing. Through collaborative making and interdisciplinary workshops, the programme investigated ways of guiding, seeing, doing, and making, and explored how digital technology might change our ‘vision’ and understanding of forms.<br> This item contains information about a workshop led by Dunseath at Spike Island, Bristol. The workshop was focused around the artist's own practice, including her role in the <i>Elbow</i> residency. Included here is the handout from the workshop, a screenshot showing event publicity on the Spike Island website, and a link to the archived Spike Island web page for the event. Please see the link below under 'References'.<br>Screenshot courtesy of Spike Island. Used with permission.Handout courtesy of Jenny Dunseath. Used with permission.<br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br>
DOI: 10.17870/bathspa.12601928.v1
title: Elbow - About Making - Spike Island Event

description: In August 2015 the C&C Gallery hosted an innovative residency program, <i>Elbow</i>, which transformed the public gallery into a dynamic studio environment to facilitate the production of artworks in response to ideas surrounding the condition of blindness and alternative ways of seeing. Through collaborative making and interdisciplinary workshops, the programme investigated ways of guiding, seeing, doing, and making, and explored how digital technology might change our ‘vision’ and understanding of forms.<br> This item contains information about a workshop led by Dunseath at Spike Island, Bristol. The workshop was focused around the artist's own practice, including her role in the <i>Elbow</i> residency. Included here is the handout from the workshop, a screenshot showing event publicity on the Spike Island website, and a link to the archived Spike Island web page for the event. Please see the link below under 'References'.<br>Screenshot courtesy of Spike Island. Used with permission.Handout courtesy of Jenny Dunseath. Used with permission.<br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br>
DOI: 10.6084/m9.figshare.14308937.v1
title: Additional file 1. Data set on variables of psychological violence at work (PVW), job satisfaction (JS) and socio-occupational variables. Health centres in Peru, 2019-2020

description: <b>Conjunto de datos sobre variables de violencia psicológica en el trabajo (PVW), satisfacción laboral (JS) y variables sociolaborales organizados en 55 columnas correspondientes a 188 personas de diez centros de salud del Perú, 2019-2020.</b><b>La variable PVW se ubica en la columna "AF" de la hoja de cálculo (T_VPs) y la clasificación de grupos con y sin PVWs (GRU) se ubica en la columna "AJ". La variable JS se ubica en la columna "BB" del La hoja de cálculo (TOT_OJS) y la clasificación de grupos con y sin JS (GruSLab) se ubica en la columna "BC". Los datos de las siete variables sociolaborales se ubican en las columnas "C" a "I" de la hoja de cálculo.</b><br>
DOI: 10.6084/m9.figshare.14308937
title: Additional file 1. Data set on variables of psychological violence at work (PVW), job satisfaction (JS) and socio-occupational variables. Health centres in Peru, 2019-2020

description: <b>Conjunto de datos sobre variables de violencia psicológica en el trabajo (PVW), satisfacción laboral (JS) y variables sociolaborales organizados en 55 columnas correspondientes a 188 personas de diez centros de salud del Perú, 2019-2020.</b><b>La variable PVW se ubica en la columna "AF" de la hoja de cálculo (T_VPs) y la clasificación de grupos con y sin PVWs (GRU) se ubica en la columna "AJ". La variable JS se ubica en la columna "BB" del La hoja de cálculo (TOT_OJS) y la clasificación de grupos con y sin JS (GruSLab) se ubica en la columna "BC". Los datos de las siete variables sociolaborales se ubican en las columnas "C" a "I" de la hoja de cálculo.</b><br>
DOI: 10.5281/zenodo.4637676
title: Tapping force encodes metrical aspects of rhythm

description: Humans possess the ability to extract highly organized perceptual structures from sequences of temporal stimuli. For instance, we can organize specific rhythmical patterns into hierarchical, or metrical, systems. Despite the evidence of a fundamental influence of the motor system in achieving this skill, few studies have attempted to investigate the organization of our motor representation of rhythm. To this aim, we studied - in musicians and non-musicians – the ability to perceive and reproduce different rhythms. In a first experiment participants performed a temporal order-judgment task, for rhythmical sequences presented via auditory or tactile modality. In a second experiment, they were asked to reproduce the same rhythmic sequences, while their tapping force and timing were recorded. We demonstrate that tapping force encodes the metrical aspect of the rhythm, and the strength of the coding correlates with the individual’s perceptual accuracy. We suggest that the similarity between perception and tapping-force organization indicates a common representation of rhythm, shared between the perceptual and motor systems.
DOI: 10.5281/zenodo.4637675
title: Tapping force encodes metrical aspects of rhythm

description: Humans possess the ability to extract highly organized perceptual structures from sequences of temporal stimuli. For instance, we can organize specific rhythmical patterns into hierarchical, or metrical, systems. Despite the evidence of a fundamental influence of the motor system in achieving this skill, few studies have attempted to investigate the organization of our motor representation of rhythm. To this aim, we studied - in musicians and non-musicians – the ability to perceive and reproduce different rhythms. In a first experiment participants performed a temporal order-judgment task, for rhythmical sequences presented via auditory or tactile modality. In a second experiment, they were asked to reproduce the same rhythmic sequences, while their tapping force and timing were recorded. We demonstrate that tapping force encodes the metrical aspect of the rhythm, and the strength of the coding correlates with the individual’s perceptual accuracy. We suggest that the similarity between perception and tapping-force organization indicates a common representation of rhythm, shared between the perceptual and motor systems.
DOI: 10.5281/zenodo.4540910
title: Dataset of systematic mapping about negative effects of game design elements in digital education/learning gamification systems

description: Dataset of data extracted regarding negative effects in digital education/learning gamification systems.
DOI: 10.25919/jwjm-bg16
title: Parkes observations for project P574 semester 2020OCTS_09

description: We request time to observe 260 pulsars on a regular basis to provide the accurate ephemerides necessary for the detection and characterisation of gamma-ray pulsars with the Fermi satellite. The main science goals are to increase the number of known gamma-ray pulsars (both radio-loud and radio-quiet), to determine accurate pulse profiles, and to characterise their high energy (phase-resolved) spectra. In the radio, the observations will also allow us to find glitches, characterise timing noise, investigate dispersion and rotation measure variability, and enhance our knowledge of single pulse phenomenology. To date, we are (co-)authors on over 80 papers arising from the collaboration and P574 data. The data have contributed to the PhD theses of students from Bordeaux, Oxford, Manchester, Stanford, and Swinburne.
DOI: 10.6073/pasta/8f9d473c75189a625e29315bea4eb24a
title: Microclimate at Harvard Forest HDW Tower since 2014

description: The HDW (Hardwood) microclimate and walkup tower at Harvard Forest became operational in April 2014. The site was chosen to represent the mixed hardwood forest around the EMS and NEON towers and to provide a platform for research projects without access to those towers. Microclimate data are archived annually and recent data are available upon request. Measured values include air temperature, relative humidity, PAR, net radiation, albedo, wind speed and direction, soil temperature and soil moisture.
DOI: 10.25919/xr51-zn13
title: Parkes observations for project P1054 semester 2020OCTS_04

description: With this proposal we ask time for a follow-up campaign of potential new discoveries from the TRAPUM (TRAnsients and PUlsars with Meerkat) survey, whiose observations are recently started. About 10 new pulsars are expected to be found during the upcoming semester of operations, in targeted pointings towards supernova remnants, pulsar wind nebulae and Fermi unidentified point sources. Timing observations have an essential role in exploiting the full potential of any pulsar discovery, allowing the precise measurement of rotational, astrometric and orbital parameters which, in turn, give us powerful tools to improve our understanding of the physics in extreme environments as well as of the population of neutron stars as a whole. The UWL receiver of the Parkes telescope is a sensitive, versatile instrument that will allow us to successfully time the bright-end of TRAPUM discoveries. Since we do not have a target list at the time of writing, we are submitting a NAPA proposal, for this semester, to be triggered as soon as a new pulsar of interest is discovered.
DOI: 10.6073/pasta/40885256f23682667aa6149da18ec450
title: Litterfall in Hemlock Removal Experiment at Harvard Forest since 2005

description: Hemlock decline in New England is caused by direct and indirect effects of invasion of the hemlock woolly adelgid. Direct damage from the insect is causing gradual mortality of hemlock, and widespread harvesting of hemlock in advance of mortality, in contrast, causes immediate mortality and removal of biomass from the site. Although both processes affect thousands of acres of forest annually we have only a limited understanding of their effects on forest ecosystem function and productivity and the nature of the subsequent forest community. We anticipate that harvesting will yield different consequences than gradual mortality from the insect. Therefore we designed an experiment to simulate these contrasting impacts, by logging or girdling hemlock stands. Results from the experimental treatments will be compared to the changes observed in forests that are being infested by the adelgid, and can also be included in integrated analyses of a suite of large experiments that form a core component of the Harvard Forest LTER program.
DOI: 10.17870/bathspa.13055798.v1
title: Writing, Drawing, Speaking - 300-Word Statement

description: <i>Writing, Drawing, Speaking</i> is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains a 300-word statement about the research project.
DOI: 10.17870/bathspa.13055798
title: Writing, Drawing, Speaking - 300-Word Statement

description: <i>Writing, Drawing, Speaking</i> is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains a 300-word statement about the research project.
DOI: 10.17870/bathspa.13055807.v1
title: Writing, Drawing, Speaking - Research Timeline and Research Questions

description: <i>Writing, Drawing, Speaking</i> is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains a timeline of the research project and a set of research questions.
DOI: 10.17870/bathspa.13055807
title: Writing, Drawing, Speaking - Research Timeline and Research Questions

description: <i>Writing, Drawing, Speaking</i> is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains a timeline of the research project and a set of research questions.
DOI: 10.17870/bathspa.12860699
title: Writing, Drawing, Speaking - Next To Nothing, University of Newcastle, Australia, 2015

description: <i>Writing, Drawing, Speaking</i> is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains documentation of the drawing/performance work 'The Work is a Score' and keynote lecture 'A Flickering Institution', performed and presented by Dutton at <i>Next to Nothing: Performance Stripped to the Bone,</i> a symposium/performance/exhibition event hosted by the School of Creative Arts, University of Newcastle, NSW, Australia, 26-27 September 2015. The event coincided with Dutton's Visiting Professor role and a Residency which allowed for the development of a new drawing/performance at the Lock Up Gallery, Newcastle, Australia, 4-27 September, 2015.<br>Images and text courtesy of Dutton. Used with permission.
DOI: 10.17870/bathspa.12860699.v1
title: Writing, Drawing, Speaking - Next To Nothing, University of Newcastle, Australia, 2015

description: <i>Writing, Drawing, Speaking</i> is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains documentation of the drawing/performance work 'The Work is a Score' and keynote lecture 'A Flickering Institution', performed and presented by Dutton at <i>Next to Nothing: Performance Stripped to the Bone,</i> a symposium/performance/exhibition event hosted by the School of Creative Arts, University of Newcastle, NSW, Australia, 26-27 September 2015. The event coincided with Dutton's Visiting Professor role and a Residency which allowed for the development of a new drawing/performance at the Lock Up Gallery, Newcastle, Australia, 4-27 September, 2015.<br>Images and text courtesy of Dutton. Used with permission.
DOI: 10.17870/bathspa.13050050
title: Writing, Drawing, Speaking - Art/Text, China, 2015

description: <i>Writing, Drawing, Speaking</i> is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains documentation of the exhibition <i>Art/Text</i>, NCUST Gallery, Tangshan, China, 2015. The exhibition, co-curated by Dutton and Annie Xu, explored the relationships between ideogram and symbol, and included the work 'Office Painting' by Dutton and the collaborative work 'Everything is hidden in silence' by Dutton and Xu.<br>Images used with permission of Stephen Dutton and Annie Xu.<br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br>
DOI: 10.17870/bathspa.13050233
title: Writing, Drawing, Speaking - Aphantasia - 8 Hour Shift, AND EventSpace, London, 2017

description: <i>Writing, Drawing, Speaking</i> is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains a series of drawing/performance works by Dutton shown/performed at a three-day performance event <i>Aphantasia - 8 Hour Shift</i> at AND EventSpace, London, in 2017. <br>Images courtesy of the artist. Used with permission.<br>
DOI: 10.17870/bathspa.13050233.v1
title: Writing, Drawing, Speaking - Aphantasia - 8 Hour Shift, AND EventSpace, London, 2017

description: <i>Writing, Drawing, Speaking</i> is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains a series of drawing/performance works by Dutton shown/performed at a three-day performance event <i>Aphantasia - 8 Hour Shift</i> at AND EventSpace, London, in 2017. <br>Images courtesy of the artist. Used with permission.<br>
DOI: 10.17870/bathspa.13079162
title: Writing, Drawing, Speaking - Performing, Writing Symposium - Wellington, NZ, 2017

description: <i>Writing, Drawing, Speaking</i> is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains examples of the sound work and live writing spoken by avatar as part of the performance work 'Words Fail Me', performed by Dutton at <i>Performing, Writing, </i>10-15 March, 2017, Wellington, New Zealand.<br>Audio clips and text file courtesy of the artist. Used with permission.
DOI: 10.17870/bathspa.13079162.v1
title: Writing, Drawing, Speaking - Performing, Writing Symposium - Wellington, NZ, 2017

description: <i>Writing, Drawing, Speaking</i> is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains examples of the sound work and live writing spoken by avatar as part of the performance work 'Words Fail Me', performed by Dutton at <i>Performing, Writing, </i>10-15 March, 2017, Wellington, New Zealand.<br>Audio clips and text file courtesy of the artist. Used with permission.
DOI: 10.17870/bathspa.13055810
title: Writing, Drawing, Speaking - Documents, Alternatives, Sydney, Australia, 2018

description: <i>Writing, Drawing, Speaking</i> is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains works by Dutton exhibited at <i>Documents, Alternatives #2</i> at Verge Gallery, Sydney, Australia, January 18 - February 24, 2018, curated by Angela Bartram. It also contains an installation shot from the exhibition.<br>Images courtesy of the artist and Angela Bartram. Used with permission.
DOI: 10.17870/bathspa.13055810.v1
title: Writing, Drawing, Speaking - Documents, Alternatives, Sydney, Australia, 2018

description: <i>Writing, Drawing, Speaking</i> is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains works by Dutton exhibited at <i>Documents, Alternatives #2</i> at Verge Gallery, Sydney, Australia, January 18 - February 24, 2018, curated by Angela Bartram. It also contains an installation shot from the exhibition.<br>Images courtesy of the artist and Angela Bartram. Used with permission.
DOI: 10.17870/bathspa.13079201
title: Writing, Drawing, Speaking - Journal Article - Studies in Theatre and Performance, 2018

description: Writing, Drawing, Speaking is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.This item contains the below article by Dutton, published in <i>Studies in Theatre and Performance </i>and available online here and via the link below (see 'References').<b>Dutton, S. (2018), 'WRITING/ PAINTING/READING/DRAWING: something not yet, and yet, still something', <i>Studies in Theatre and Performance</i>, 38:3, 302-312, DOI: 10.1080/14682761.2018.1507201</b><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br>
DOI: 10.17870/bathspa.13079201.v1
title: Writing, Drawing, Speaking - Journal Article - Studies in Theatre and Performance, 2018

description: Writing, Drawing, Speaking is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.This item contains the below article by Dutton, published in <i>Studies in Theatre and Performance </i>and available online here and via the link below (see 'References').<b>Dutton, S. (2018), 'WRITING/ PAINTING/READING/DRAWING: something not yet, and yet, still something', <i>Studies in Theatre and Performance</i>, 38:3, 302-312, DOI: 10.1080/14682761.2018.1507201</b><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br>
DOI: 10.17870/bathspa.13079372.v1
title: Writing, Drawing, Speaking - No Telos, 2019

description: Writing, Drawing, Speaking is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains the work 'In Tongues', Dutton's contribution to the artist's book <i>No Telos, </i>a collaborative artistic research project exploring the critical role of uncertainty, disorientation, not knowing and open-ended activity within creative practice and during uncertain times. Dutton was invited to contribute to the book.<br><b>Dutton, S. (2019) ‘In tongues’, in Brown, A., Cocker, E., Dutton, S., Hock, K., Mackenna, T., Maier, D., Pepper, A., Reynolds, E. and Sprawson, D., No Telos. Nottingham: BEAM Editions.</b><b><br></b>This item also includes a link to the publication listing on the Beam Editions website.<b><br></b><b><br></b><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br><br>
DOI: 10.17870/bathspa.13079372
title: Writing, Drawing, Speaking - No Telos, 2019

description: Writing, Drawing, Speaking is a constellation of approaches which both examine and perform the relationships between the acts of speaking, writing and drawing.<br>This item contains the work 'In Tongues', Dutton's contribution to the artist's book <i>No Telos, </i>a collaborative artistic research project exploring the critical role of uncertainty, disorientation, not knowing and open-ended activity within creative practice and during uncertain times. Dutton was invited to contribute to the book.<br><b>Dutton, S. (2019) ‘In tongues’, in Brown, A., Cocker, E., Dutton, S., Hock, K., Mackenna, T., Maier, D., Pepper, A., Reynolds, E. and Sprawson, D., No Telos. Nottingham: BEAM Editions.</b><b><br></b>This item also includes a link to the publication listing on the Beam Editions website.<b><br></b><b><br></b><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b><br><br>