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Response Paper – Consciousness and the Two-Track Mind In reading Chapter 3: Consciousness and the Two-Track Mind, I started to realize how much more there is to our consciousness, and sleeping. IVe associated some of the readings on the Dual Processing mind, to my own personal experiences, answering a few questions I had always pondered but never bothered to find out. Consciousness, as the book stated, really can be a funny thing.

As I delved into Chapter 3, my consciousness immediately began to drift away. I was telling myself in my head how “l have to try to read as much of this chapter tonight, so I could focus n the writing the next day’. Funny thing is I didn’t actually notice what was happening until I read “And then there are those times when consciousness seems to split. Reading Green Eggs and Ham to my preschooler for the umpteenth time, my obliging mouth could say the words while my mind wandered elsewhere. However, I also had to reread a chunk of the text because even though my eyes were reading, my mind didn’t quite grasp any of what I’d Just read while I was pondering about the reading and writing assignment. At first, I couldn’t quite comprehend what the book was talking about when it entioned The Two-Track Mind or spoke of Dual Processing. But suddenly I saw it from a different perspective and it Just clicked. Computers have different kinds of processors; dual-core processors boost the system’s multitasking computing powers.

So the same must be true for dual processing, allowing us to do more things at once. However, dual-core processing computers are able to efficiently handle intensive tasks, where we are limited; according to this passage on The Two-Track Mind “Serial conscious processing, though slower than parallel processing, is skilled at solving new problems, which require our focused attention… Tap a steady beat three times with your left hand while tapping four times with your right hand. Both tasks require attention, which can be in only one place at a time. This is true, for I have noticed that I’m unable to perform at my usual skill level on video games when trying to hold a conversation. The conversation, Just as much as the video game requires my attention, so I must sacrifice my attention on one in order to do the other. Likewise, the reason I wasn’t able to comprehend what I read earlier, while my consciousness drifted, was because of something called Selective Attention. IVe always been disturbed with the fact that most of us will spend a third of our entire lives sleeping.

I’d always thought of sleep as a waste of time, but something that the body needed in order to function properly. But now I’m intrigued with the mystery that lies in that 3rd of our lives. “Thirty-seven percent of people report rarely Unknown to those people, they spend about 600 hours a year experiencing some 1500 dreams, or more than 100,000 dreams over a typical lifetime”dreams swallowed by the night but never acted out, thanks to REM’s protective paralysis. “While sleeping, you may feel dead to the world, but you are not. Even when you are deeply asleep, your perceptual window is not completely shut. This is very true, IVe noticed there are certain things, mainly sounds, that even when asleep, I tend to respond to. Such as hearing my name, as the book states, but even sounds like the meow of my cat. But, it’s also mentioned how “The occasional roar of passing vehicles may leave your deep sleep undisturbed. ” Which makes me wonder why some sounds and not others, is it dependent on something simple such as the volume or pitch of the sound, or perhaps something more complicated and deeper such as how they re related to us, past experiences, or their importance in our lives?

Jennifer Walshe By thebluefairy Jennifer Walshe – Artist Examination A Backround Jennifer Walshe, a Dublin born girl in 1974, has made quite the name for herself as an artist. She dabbles in many many types of art form. She is a singer, a composer, a vocalist, an experimenter and much more. She studied composition with John Maxwell Geddes at the Royal Scottish Academy of Music and Drama, Kevin Volans in Dublin and graduated from Northwestern University, Chicago, with a doctoral degree in composition in June 2002. Her chief teachers at Northwestern were Amnon Wolman and Michael Pisaro.

Jennifer has won many prizes including, the Kranichsteiner Musikpreis, Praetorius Music Prize and a grant from the Foundation for Contemporary Arts, New York. She has also completed many residencies in places such as: In Context 3, Fondazione, DAAD Berliner Kјnstlerprogramm. Jennifer’s work has been performed and broadcast all over the world by ensembles such as Alter Ego, ensemble r©cherche, the National Symphony Orchestra of Ireland, Orchestra Sinfonica del Teatro La Fenice, Solistenensemble Kaleidoskop, Ensemble Resonanz, Apartment House, ensemble Int©grales, Neue Vocalsolisten Stuttgart,

Stuttgarter Kammerorchester, Schlagquartett K¶ln, Crash Ensemble, Con Tempo Quartet, ensemble ascolta, Champ d’Action, ensemble laboratorium, ensemble ]h[iatus, ensemble surplus, trio nexus, the Rilke Ensemble, the Irish Chamber Orchestra, the Irish Youth Wind Ensemble, Bozzini Quartet, Callino Quartet, Ensemble 2000, Concorde, Kaleidoscop, Black Hair, Continuum, Ensemble Musica Nova, ensemble chronophonie, the Scottish Chamber Orchestra Wind Quintet, the Hebrides Ensemble, Psappha, and Q-02 among others. As a composer, and as a vocalist Jennifer also specialises in extended techniques within the two.

Many of Jennifers recent compositions were commissioned for her voice in Juxtaposition with other instruments, and her works have been performed by her and others all over the world at festivals such as ‘RT‰ Living Music (Dublin), BҐstad Kammarmusik Festival (Sweden), Maerzmuzik (Berlin), Ultraschall (Berlin), Transit (Leuven), Ars Musica (Brussels), Ultima (Norway), Borealis (Norway), Experimental Intermedia (New York), November Music (Holland), All Tomorrows Parties (I-JK), Steirischer Herbst, Wien Modern, Wittener Tage for neue Kammermusik, Donaueschinger Musiktagen, the Huddersfield Contemporary Music Festival, Late

Music Festival (York), Hamburger Klangwerktage, Gaida (Lithuania), BMIC Cutting Edge, Composer’s Choice (Dublin), SoundField (Chicago) the Internationale Ferienkurse for Neue Musik Darmstadt, Stockholm New Music, BELEF (Belgrade), Traiettorie (Parma), Cut & Splice (London), Lucerne Festival (Switzerland), SPOR (Denmark), Frau Musica Nova (Cologne), Performa (New York), Electric Eclectics (Canada), Dresdener Tage der zeitgen¶ssischen Musik, Reihe O (Austria), Stimme+ (ZKM, Karlsruhe) and Music at the Anthology (New York)’ – [http://www. milker. org/ personnel/per_dir. html. 2008. personnel. ONLINE] Available at:http:// Graphic Scores I have chosen to focus on her graphic score work. A graphic score, quite like a traditional music score, is a way of notating music. But a graphic score has quite a considerable difference. Anything and everything can be used, to the content of the composer. Below is an example: A graphic score can be written for any number and any sort of instrument but Jennifer, as a vocalist, focuses on compositions for the voice. A compositon on a graphic score is represented visually on a page. It can be represented using any combination of shapes or markings (this includes text).

With vocal compositions, what s usually considered before beginning is the voice, throat, teeth, muscles, tongue and breath. Voice is more than ‘La la la’. A composer, can be abstract, can be strict or can be both these things. There is no either/or. The piece can be as complicated as they like. The piece can be as simple as they like. Your piece is not bound to a particular time limit. It may be over in a breath, or it could conceptually continue until the performer’s lifeforce is expended. The performance of a graphic score is similar, if not the same as sound poetry, or the performance of words. My Extensive Relationship with Mr. Stephen Patrick M’, a piece performed by Jennifer breaks all boundaries of graphic scores by not even using a page. {Walshe, J. (unknown). My Extensive Relationship with Mr. Stephen Patrick M. Available: http://www. milker. org/notation/ext_rel. html. Last accessed 29th October. } Instead, she uses the different feel of the different ribbons to change her voice in a way that suits what she is feeling. “for voice; sounds are determined by texture and dimension of ribbons on neckband” – Jennifer Walshe. Jennifer also like to use the natural environment as her way of composing her graphic scores.

For these articular ones below, she has left no direction for. Everything is left completely up to the performer how it will sound. {Walshe, J. (unknown). Various external notations. Available: http://www. milker. org/ notation/tyroneguthrie/tyroneguthrie. html. Last accessed 29th October. } As previously stated, Jennifer’s work has influenced many others around the world. This is no surprise because of all the awards and recognitions that she has received, as mentioned at the start of the essay. I am now going to discuss 2 projects in particular in which Jennifer has used her talent to influence others and bring her assions to the masses.

In 2007 Walshe developed a group called Grјpat. Its a project in which Walshe has taken on twelve different alter egos – all members of art collective Grјpat – and created sound poetry, graphic scores, films, photography, compositions, sculptures and even fashion under these alter egos. Pieces by Grјpat members have been performed and exhibited all over the world, most notably at “the Dublin Electronic Arts Festival; Kilkenny Arts Festival; the Museum of Arts and Design, New York; the Contemporary Arts Museum, Houston; New Langton Arts, San Francisco; Tmu-na, Tel

Implementing a discharge checklist to reduce congestive heart failure readmissions

Implementing a discharge checklist to reduce congestive heart failure readmissions.

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implementing a discharge checklist to reduce congestive heart failure readmissions

PLEASE READ ALL ATTACHED DOCUMENTS! +Must fill ALL three documents (evidence classification form, rapid critical appraisal tool, and evidence summation table) for EVERY SINGLE SOURCE listed on SEMINAR II Paper document! I have provided an example for the evidence classification form (you do not have to redo Casteel for that) and also MULTIPLE examples for the Evidence summation table. Please use the attached evidenced summation table and just continue on that. Fill in the green highlighted areas, then please complete the other two documents for all sources. Please read the attached rubric. The paper must be 8 pages in length along with the three additional required documents for each source. Attached you will find the 1. Rubric 2. My seminar paper which you should read before beginning so you understand the purpose of the project 3. Evidence Classfication Form (must fill out one for each source 4. Evidence summation table (please complete highlighted ones) 5. Rapid critical appraisal tool (Please do one for each source) Message with any questions. Thank you in advance. Must be in APA

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