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Introduction: Hospitals implement artificial intelligence, big data, and telehealth to accelerate digital transformation and improve quality standards. However, their corporate communication strategies remain very conservative (brochures, magazines, websites) and inconsistent with their ambitious organizational goals. Objective: This literature review-based paper analyzes how hospitals should use technology to revamp their online communication strategies and build more meaningful brands. Methodology: To do that, we conducted a literature review on digital hospitals, their branding strategies, and their stakeholders' humanistic needs. Based on that, we proposed an online communication model to help hospitals build credible brands. Conclusion: We concluded that these organizations should focus their communication efforts on sharing credible content that describes how their medical initiatives improve society; they should assist their stakeholders in enhancing their global understanding of healthcare; and they should help the Digital Communication Unit lead an intellectual reflection about how to develop a smart hospital from a technology and humanistic perspective. [ABSTRACT FROM AUTHOR]

Mainstream operationalisations of music in contemporary digital culture tend to take forms that fit with Western folk-theoretic conceptions of music: as discrete sonic entities—songs, pieces, works—that fall within an autonomous domain of human experience, that have determinate structure and that have both affective and exchange value. This perspective is problematised in alternative digital manifestations of music as constituted in and through interaction, in which music is emergent from interactive processes that are computationally mediated. This alternative digital approach fits with broad conceptions of music that are grounded in ethnomusicological accounts and that have increasing weight in the cognitive sciences, in which music is understood and explored as a communicative medium. This paper will outline some of the possibilities, potentials and problems for digital approaches that are likely to arise in operationalising music as communicative interaction. [ABSTRACT FROM AUTHOR]