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This article examines a South Korean cultural chronotope from the perspective of Korea’s world-renowned digital gaming culture, including its professional electronic sports (e- sports) scene and the experiences of amateur gamers in online gaming cafés (PC bang). My analysis centers on two of Korean digital gaming culture’s recognizable social types and the spatiotemporal qualities of their play: professional gamers and the quickness em- bodied in their e-sports performances; and a specific kind of amateur PC bang gamer who is more socially isolated and whose engagement with games is slow and repetitive. I argue that through their performances in digital games’ virtual and actual-world participation frameworks, gamers orient to these social types in ways that differentially construe their relationships to semiotic depictions of places, times, and personhoods. Thinking through these orientations and their spatial, temporal, and social qualities is critical to under- standing chronotopic representations of contemporary Korea.

This report is the culmination of a year-long series of reports (released throughout 2020) providing a comprehensive, current-day analysis of the direct care workforce and its critical role in the long-term care system in the United States. By bringing these reports together, this final report provides: a detailed profile of these workers; a segmented look at the long-term care industry; a discussion on the evolving role of the direct care worker; a proposed framework for creating quality jobs in direct care; and a look forward at where this workforce and industry are heading. The report also offers concrete recommendations for policymakers, employers, advocates, and other long-term care leaders, and features stories of direct care workers from around the country, sharing their wisdom and ideas. In releasing this report, our goal is to strengthen the national dialogue on the direct care workforce, including what needs to change in policy and in practice.workforce,including what needs to change in policy and in practice.

This executive summary describes the key points of our comprehensive, current-day analysis of the direct care workforce. This report is the culmination of a year-long series of reports (released throughout 2020) providing a comprehensive, current-day analysis of the direct care workforce and its critical role in the long-term care system in the United States. By bringing these reports together, this final report provides: a detailed profile of these workers; a segmented look at the long-term care industry; a discussion on the evolving role of the direct care worker; a proposed framework for creating quality jobs in direct care; and a look forward at where this workforce and industry are heading. The report also offers concrete recommendations for policymakers, employers, advocates, and other long-term care leaders, and features stories of direct care workers from around the country, sharing their wisdom and ideas. In releasing this report, our goal is to strengthen the national dialogue on the direct care workforce, including what needs to change in policy and in practice.

With Stephen Campbell, trumpet. ; Part of the Faculty Artist Series for 2018-2019. ; Includes a list of upcoming School of Music events (for March 2019)., Series LXXIII, Number 137., This archival material has been provided for educational purposes. Ball State University Libraries recognizes that some historic items may include offensive content. Our statement regarding objectionable content is available at: https://dmr.bsu.edu/digital/about

With Ray Kilburn, Maya Kilburn, Yu-Fang Chen, Mei-Chun Chen, Lisa Kozenko, the Da Camera Brass Quintet, the Faculty Jazz Combo, Meryl Mantione, James Helton, Elizabeth Richter, Mary Bircher, Gene Berger, Zoran Jakovcic, Irina Nuzova, Stephen Price, Stephen Campbell, Kathleen Maurer, Nathan Bogert, Michael Seregow, the Ball State Chamber Players, Paul Reilly, and the Musical Arts Quintet., This archival material has been provided for educational purposes. Ball State University Libraries recognizes that some historic items may include offensive content. Our statement regarding objectionable content is available at: https://dmr.bsu.edu/digital/about

Problem: Little is known regarding experiences of childbearing women participating in a Continuity of Care Experience. Background: Continuity of Care immersion is considered a vital component of undergraduate education in Australia. A student midwife follows a woman's childbearing journey regardless of the woman's individual needs or chosen model of care. Question: What do women value in their student-woman continuity experience, and does this vary with model of care provision? Methods: Qualitative analysis was conducted on open-text box responses from 946 mothers enrolled in one regional university Continuity of Care program between 2014-2018. Findings: This qualitative descriptive study identified three overarching themes: ‘Known student midwife’; ‘Knowledge’; and, ‘Professionalism’. The ‘Known Student Midwife’ was strongly associated with provision of support and advocacy for the woman and her partner/family. Women's responses were overwhelmingly positive, however, when some partnerships terminated, a negative impact was reported. Themes were often interlinked, suggesting when women valued one key attribute the others were somewhat related. Although rare, from some responses it was unclear if students had over-stepped professional boundaries, prompting the need for ongoing education. Discussion: This study provides compelling evidence for the perceived value of the Continuity of Care Experience in Australian midwifery curricula, as well as possible areas of concern regarding the nature of professional behaviour. Conclusions: Continuity of Care immersion plays a significant role in Australian midwifery education programs and is predominantly well received by childbearing women. Development of reflexive practice skills in undergraduate curricula may further enhance this experience for women.

This ethnography explores the practical experiences and institutional entanglements of online games, gaming, and gamers in contemporary South Korean culture and society. Korean online gaming culture is encountered at numerous sites and scales of experience, from the virtual worlds of online games, to the offline spaces where gaming happens, to societal practices and discourses around the management of online gaming and gamers backed by competing institutional interests. Online gaming is contextualized within the history of building Korea's high-speed, high-tech information society, a process known in Korea as “informatization.” Korean online gaming culture is evaluated according to a sociocultural appreciation of speed that elevates qualities of quickness and acceleration as virtues of practice and behavior, the performance of which calibrates individuals with normative expectations that inflect approaches to IT use in Korea's information society.Since its emergence in the late 1990s, Korean online gaming culture has been the source of both celebration and controversy. While online games have proven to be lucrative for the Korean economy, the objects of a vibrant popular culture, and an area of business and leisure activity that distinguishes Korea as a leader on the world stage, they have also been the objects of political and medical interventions around problematic gaming, or online game “addiction.” Gamers exist in the middle of this tension, their practices and behaviors evaluated against models of normative online gaming and IT use. These evaluations differ from site to site and across scales of experience, yet they are all inflected by a preoccupation with quickness and acceleration as characteristics of a normative orientation to information practices, including online gaming. Performance of these qualities connects individuals with Korea's information society, contributing to normative gaming socialities that I argue are associated with chronotopes: partici

Students' understanding of the nature of science (NOS), and the degree to which they perceive their discipline to be part of science, are critical to their academic development in psychology. In Study 1, 650 first-year psychology students from three universities in Australia completed the Psychology as a Science (PAS) questionnaire, an adjective checklist relating to science and psychology, and the Science Knowledge and Attitudes (SKA) scale. Results confirmed the limited value of the PAS to identify components of the NOS, but indicated that students view psychology to be a science within a few weeks of the commencement of their study at university. Three factors underlying the SKA scale were identified: naïve view of science (NVS), social and cultural perspective (SCP), and knowledge of refutability (KR). In Study 2, 622 students at the University of Tasmania completed the SKA and items relating to their beliefs about studying. Scores on the three factors were correlated with beliefs about studying, scores on KR increased with years of study, and scores on NVS decreased with years of study. These data suggest that our educational practices do in fact lead to appropriate changes in students' NOS understanding in a manner consistent with the learning outcomes underpinning psychology graduate attributes.

The purpose of this study was to determine the effects of visual performance presentations on student perceptions of the elements of music. Eighth and 12th grade student groups (n = 155) were randomly assigned from intact music classes into two presentation groups (audio and video). A Posttest Control Group Design was utilized to determine the treatment effects of four videotaped performances on student responses to Olson's Part One: Musical Detail from the Measurement of Musical Awareness (©1987). Two excerpts in Jazz style (big band) and two in Classical style (symphony orchestra) were presented in random order to each of the treatment groups. The experimental group was presented a videotaped music performance of each excerpt while the control group was presented only the audiotaped performances of the same excerpts. The students responded to twenty-eight test statement items regarding melody, form, texture, meter, rhythm, harmony, tone color, tempo, and dynamics in the four different music performances.

Held at Riverside Avenue Baptist Church, Muncie, Indiana.; Mrs. Thomas J. Murphy, Jr., president, and Mrs. R. F. Erickson, Jr., program leader., This archival material has been provided for educational purposes. Ball State University Libraries recognizes that some historic items may include offensive content. Our statement regarding objectionable content is available at: https://dmr.bsu.edu/digital/about

The Dingledine Trio: Ladonna Dingledine, flute, Stephen Dingledine, oboe, John Campbell, cello., Series XXIII, Number 3., This archival material has been provided for educational purposes. Ball State University Libraries recognizes that some historic items may include offensive content. Our statement regarding objectionable content is available at: https://dmr.bsu.edu/digital/about

The Dingledine Trio: Ladonna Dingledine, flute, Stephen Dingledine, oboe, John Campbell, cello.; Assisted by Jane Church, harpsichord., Series XXVI, Number 43., This archival material has been provided for educational purposes. Ball State University Libraries recognizes that some historic items may include offensive content. Our statement regarding objectionable content is available at: https://dmr.bsu.edu/digital/about

The Dingledine Trio: Ladonna Dingledine, flute, Stephen Dingledine, oboe, John Campbell, cello.; Assisted by Jane Church, piano., Series XXV, Number 8., This archival material has been provided for educational purposes. Ball State University Libraries recognizes that some historic items may include offensive content. Our statement regarding objectionable content is available at: https://dmr.bsu.edu/digital/about