The University of West London is a public university in the United Kingdom which has campuses in Ealing and Brentford in London, as well as in Reading and Slough in Berkshire.The university has roots back to 1860, when the Lady Byron School was founded, which later became Ealing College of Higher Education. In 1990, Ealing College of Higher Education, Thames Valley College of Higher Education, Queen Charlotte's College of Health Care Studies and the London College of Music merged to form the Polytechnic of West London. In 1992, the Polytechnic of West London became a university and adopted the name Thames Valley University. In 2004, Thames Valley merged with Reading College and School of Arts and Design. A former campus in Slough was closed in 2010.In August 2010, the university announced that it had been granted permission to change its name to the University of West London, to reflect a focusing of operations onto its Ealing and Brentford campuses. The new name was formally adopted on Wednesday 6 April 2011. Wikipedia.
Agency: GTR | Branch: AHRC | Program: | Phase: Research Grant | Award Amount: 35.56K | Year: 2012
This is a proposal to establish an AHRC funded research network to develop a new methodology for studying Musical Performance in the Recording Studio but which would also be applicable to a variety of other forms of creative practice in the digital age. The network would extend over a period of nine months from the start of Oct. 2012 to the end of June 2013. This project will contribute towards the AHRC Digital Transformation theme in two quite distinct ways. Firstly it will investigate the way in which the digital revolution in recording and music production technology has affected musical performance in the studio. Techniques such as cut and paste editing, digital effects and signal processing, auto-tune and audio time correction have prompted and challenged performers to adapt their creative practice and work with record producers in the same way that actors have adapted to working in the cinema: working non-linearly and for an hypothetical audience. In the second instance the entire methodology for the project has developed out of these digital transformations and the potential of the infinite archive. The basic premise is to use a variety of digital media to capture multiple facets of a staged example of recording and performance practice in the studio. This will take the form of a recording session involving a record producer, sound engineer and a jazz quartet. Alongside several cameras filming the process from a variety of angles (and in the different rooms), there will also be a screen capture from the recording and editing software, equipment lists of the hardware effects, processors, microphones and mixing console, archive back ups of the session at various points and archived files of all the recorded takes as well as the ones used in the final mix. This will be accompanied by interviews with the participants, analyses by various network members, responses to the analyses by the participants and discussions between the academics and the practitioners. This, along with the analyses, discussions and comments from two other network events are then made available online and this material becomes the basis for another recursion of interpretation, analysis and discussion. This unique archive of both the raw data from the study and analyses and discussion from a wide range of perspectives and approaches will be maintained online by the Association for the Study of the Art of Record Production and further contributions, beyond the life of the network, will be invited and moderated. The network will start in Oct. 2012 in time for the first event in Nov. 2012 which will be a weekend of presentations and discussions about theoretical approaches, methodological implications and planning for the staged recording. The recording itself will take place in Dec. 2012. In Feb. 2013 there will be a weekend symposium of analyses and discussion stemming from the recording and the interviews with the participants. In Mar. 2013 the material will be put online and contributions invited. This will build towards an online conference in Apr. 2013 that will open up the material to the wider academic and professional community for further scrutiny, analysis and discussion. This will be followed by the final weekend event in May 2013 which will discuss the merits and problems of the methodology and its potential for future applications. The network membership will include: 8 core members covering recording, production, performance, psychology and anthropology 2 early career researchers / PhD students working in related fields Guest members whose specialism relates to facets of each specific event Limited access (around 15 people) for academics and practitioners interested in attending. The aim is for this to be part of a larger, more extended project that stages several recording sessions involving different styles of music and different approaches to recording practice.
Gatley A.,University of West London |
Caraher M.,City University London |
Lang T.,City University London
Appetite | Year: 2014
Food campaigners, policy makers, journalists and academics continue to debate an alleged decline in home cooking, a corresponding increase in individualised eating habits and the impact of such trends upon public health. The focus of this research was to examine and compare current domestic food practices in Britain with those of another country, namely France. In-depth interviews with 27 members of the public drawn from both countries enabled the researchers to explore people's actual cooking practices in the home. Analysis of the data revealed that respondents from both countries often lacked time to cook and increasingly relied on a mix of both raw and convenience-type foods to varying degrees. A range of cooking skills was employed in the home, although confidence in relation to cooking was more varied with the French respondents who demonstrated a greater willingness to 'cook from scratch'. There was some evidence of men on both sides of The Channel engaging with cooking in the home although this often formed part of a leisure activity undertaken at weekends and for special occasions. © 2014 Elsevier Ltd.
Forster M.,University of West London
Nurse Education Today | Year: 2013
Background: Information Literacy is essential to 'evidence-based practice'; without the ability to locate evidence, evidence-based practice is rendered extremely difficult if not impossible.There is currently little evidence to show how Information Literacy is experienced by nurses or what its parameters are within evidence-based practice and therefore whether Information Literacy educational interventions are actually promoting the correct knowledge and skills. Objective, Design and Methods: Using phenomenographic interviews the author will attempt to discover how nurses experience Information Literacy. Insights from the findings will be used to map out its parameters and to put forward a theoretical model for a course or module to develop it effectively. Results: This article presents preliminary findings, including 7 draft categories of description of how Information Literacy is experienced in nursing. Conclusions: This pilot study indicates that the complete findings may be of significant potential value in the promotion and development of Information Literacy education in nursing. It is argued that such insights into how nurses actually experience the phenomenon of Information Literacy can be used to develop potentially more effective, research-based, educational interventions. © 2012 Elsevier Ltd.
Wilson J.,University of West London
Nursing Times | Year: 2015
Surgical site infections (SSIs) are an important cause of healthcare-associated infection and are associated with considerable morbidity and mortality. Although intrinsic factors in patients - such as age, underlying illness and site of the procedure - increase the risk, the quality of care delivered during the perioperative period is critical to preventing SSI. This article explores what is known about the epidemiology and pathogenesis of SSI, and practices that are effective in reducing the risk of SSI.
Wilson J.,University of West London
Journal of Infection Prevention | Year: 2013
urgical site infections (SSI) account for a major proportion of healthcare associated infections (HCAI) yet many hospitals capture little data on the risk of SSI in patients undergoing surgery and therefore have little assurance about the quality of infection prevention in their operating departments. This paper is the first part of a two part series that will examine the principles and practice of surveillance of SSI. Part 2 will examine the analysis of SSI data and the use of the results to change practice. This paper reviews the principles that underpin SSI surveillance methodology, key concepts that affect the accuracy of data capture systems and strategies for addressing them, including risk factors and active case finding systems to ensure detection of SSI, including those that develop after discharge from hospital. © The Author(s) 2013.
Trenoweth S.,University of West London
Nurse Education Today | Year: 2013
Background: Studies into the socialisation of nursing students have tended to concentrate on entrant's reactions to work and on the development of knowledge and skills in relation to a particular occupational culture. However, the extent and manner of personal and psychological changes experienced by mental health nursing students during occupational socialisation have yet to be thoroughly addressed in the literature. Objectives: To explore the psychological and personal changes of student mental health nurses over the first 2. years of their pre-registration mental health nursing programme. Design: Students from 2 mental health nursing cohorts at a London university were invited to participate. A semi-structured interview was used and the participants were asked to talk openly about their experiences. Ethics approval and informed consent was sought and obtained. Participants: 20 students were selected at random and invited to be interviewed on 5 occasions over a 2. year period at roughly 6. month intervals. Methods: A total of 72 interviews were conducted. Interviews were tape recorded and verbatim transcribed for quantitative and qualitative content analyses. Results: Participants described moving from feeling uncertain, to increasing awareness and understanding of self and others, and, ultimately, feeling more accomplished in relation to their occupational world. Conclusions: This study has highlighted the need for supporting students in developing their confidence and perceptions of self-efficacy and of recognising individual differences in student's responses to uncertainty. © 2012 Elsevier Ltd.
Thomas P.,University of West London
London Journal of Primary Care | Year: 2014
This is a review of a paper by Bayliss et al in the Annals of Family Medicine that argues that traditional research methods ‘are not well suited to addressing multi-faceted problems, such as understanding the complex interaction of multi-morbid chronic illness with social, environmental and healthcare systems’. Bayliss et al conclude that research that can be relied on requires methods that are ‘participatory, mixed methods, multi-level, and engage communities’. © 2014, Radcliffe Publishing Ltd. All right reserved.
Agency: GTR | Branch: Innovate UK | Program: | Phase: Knowledge Transfer Partnership | Award Amount: 80.88K | Year: 2013
Agency: GTR | Branch: Innovate UK | Program: | Phase: Knowledge Transfer Partnership | Award Amount: 72.75K | Year: 2013
To build and market a system for managing student attendance and the associated reporting within an HE environment
Agency: GTR | Branch: AHRC | Program: | Phase: Research Grant | Award Amount: 40.10K | Year: 2015
The world of instrumental classical music is comparatively conservative in comparison to other areas of the creative arts where historical works are presented in a contemporary context. The notion of creative contemporary interpretations of a historical text has been explored much less widely in this realm than, for example, in that of Shakespearian theatre. One exception has been historically informed performance, the attempt to recreate musical performances as they would have sounded in the time of the composer of the work in question. This has, of course, been paralleled in Londons Globe Theatres productions of Shakespeare in all its Elizabethan splendour but there have also been numerous productions in modern dress, in radically reinterpreted settings, including multi-media presentations and effects and even in contemporary language. And, at the same time, recorded classical music has stuck to the notion of presenting the work from the perspective of an audience member in a concert hall. Indeed much of the sales rhetoric of classical recordings is framed in terms of realism: just like being in the auditorium. A recent example is that of dummy head binaural recordings made in famous concert halls: experience the orchestral sound from 12th row centre at Viennas Musikwerein. In the world of film and television, on the other hand, Shakespearian actors can be allowed to whisper and raise an eyebrow in close up or thunder across a battlefield in glorious Cinerama. Their performance techniques have adapted to the potential offered by editing, multiple takes, camera angles, CGI and special effects. This project seeks to redress that imbalance by utilising the creative non-linear editing, alternate performance practices, spatial staging and digital signal processing that have developed within popular music, to create radical re-interpretations of music from the classical repertoire: from Bach to Debussy. They will be developed through discussion, negotiation and collaborative creative practice between performers, recordists and music theorists. The aim is to highlight particular perspectives and features of the pieces that have been identified as salient by music theorists and to develop performance, production and processing strategies that illuminate them in recordings and technologically mediated performances. An additional dimension of the project is to utilise digital multi-media to both document and explain the creative processes involved and to put this output online as a proposed new template for practice-as-research publication. The notion of a research question in creative arts practice is a thorny one that frequently only becomes evident in retrospect but it is also often a collaborative and negotiated process which can be subject to a variety of interpretations. Presenting this process through video of the discussion and workflow, the use of video-recall for post-hoc analysis and multi-perspectival commentaries by the collaborative participants, allows this complex nature to be reflected in a published output. The same is true for the demonstration of tacit knowledge and other unique features of practice-as-research that are ill-suited to traditional text based publication. In addition to being an important contribution to research in classical music and record production, this practice-as-research digital online published output serves as an exemplar or a template for similar work in other areas of creative arts research. The last event in the project will therefore be a hybrid conference, part face to face and part online, in which academics from a range of practice-as-research backgrounds will come together to discuss the merits of this template and the contribution that it makes to the development of formal structures that would produce greater parity in funding applications and research excellence assessments between practice-as-research outputs and traditional text based publications.